#A) Briefly describe the luddite movement.

[otter-byte]

I love that computer image generation has just near completely re-enacted the luddite movement in current year. Can someone start burning down server farms so we can complete the circle

[wumingfoundation]

On #QAnon: The full text of our Buzzfeed Interview

Ryan Broderick of Buzzfeed just published an article on this #QAnon conspiracy bullshit titled It's Looking Extremely Likely That QAnon Is A Leftist Prank On Trump Supporters. The piece features quotes from an interview we gave via email. Here’s the full email exchange.

--

Can you tell me a bit about when and how your book Q was written?

We started writing Q  in the last months of 1995, when we were part of the Luther Blissett Project, a network of  activists, artists and cultural agitators who all shared the name «Luther Blissett». Luther Blissett was and still is a British public figure, a former footballer, a philanthropist. The LBP spread many mythical tales about why we chose to borrow his name, but the truth is that nobody knows.

Initially, Blissett the footballer was bemused, but then he decided to play along with us and even publicly endorsed the project. Last year, during an interview on the Italian TV, he stated that having his name adopted for the LBP was «a honour». The purpose of signing all our statements, political actions and works of art with the same moniker was to build the reputation of one open character, a sort of collective "bandit", like Ned Ludd, or Captain Swing. It was live action role playing. The LBP was huge: hundreds of people in Italy alone, dozens more in other countries. In the UK, one of the theorists and propagandists of the LBP was the novelist Stewart Home.

The LBP lasted from 1994 to 1999. The best English-language account of those five years is in Marco Deseriis' book Improper Names: Collective Pseudonyms from the Luddites to Anonymous. One of our main activities consisted of playing extremely elaborate pranks on the mainstream media. Some of them were big stunts which made us quite famous in Italy. The most complex one was played by dozens of people in the backwoods around Viterbo, a town near Rome. It lasted a year, involving Satanism, black masses, Christian anti-satanist vigilantes and so on. It was all made up: there were neither Satanists nor vigilantes, only fake pictures, strategically spread rumours and crazy communiqués, but the local and national media bought everything with no fact-checking at all, politicians jumped on the bandwagon of mass paranoia, we even managed to get footage of a (rather clumsy) satanic ritual broadcast in the national TV news, then we claimed responsibility for the whole thing and produced a huge mass of evidence. The Luther Blissett Project was also responsible for a huge grassroots counter-inquiry on cases of false child abuse allegations. We deconstructed the paedophilia scare that swiped Europe in the second half of the 1990s, and wrote a book about it. A magistrate whom we targeted in the book filed a lawsuit, as a consequence the book was impounded and disappeared from bookshops, but not from the web.

This is the context in which we wrote Q. We finished it in June 1998. It came out in March 1999 and was our final contribution to the LBP.

I've been reading up about it, and it's largely believed that it's underneath the book's narrative it works as handbook for European leftists? Is that a fair assessment? I've read that many believe the book's plot is an allegory for 70s and 80s European activists?

Although it keeps triggering many possible allegorical interpretations, we meant it as a disguised, oblique autobiography of the LBP. We often described it as Blissett's «playbook», an «operations manual» for cultural disruption.

The four authors I'm speaking to now are Roberto Bui, Giovanni Cattabriga, Federico Guglielmi and Luca Di Meo correct? The four authors of Q?

You are speaking with three of the four authors of Q, and you're speaking with a band of writers called Wu Ming, which means «Anonymous» in Chinese. In December 1999 the Luther Blissett Project committed a symbolic suicide - we called it The Seppuku - and in January 2000 we launched another project, the Wu Ming Foundation, centred around our writing and our blog, Giap. The WMF is now an even bigger network than the LBP was, and includes many collectives, projects and laboratories. Luca aka Wu Ming 3 is not a member of the band anymore, although he still collaborates with us on specific side projects. Each member of the band has a nom de plume composed of the band's name and a numeral, following the alphabetical order of our surnames, thus you're speaking to Roberto Bui aka Wu Ming 1, Giovanni Cattabriga aka Wu Ming 2 and Federico Guglielmi aka Wu Ming 4.

Can you tell me a bit about your background before the Luther Blissett project?

Before the LBP we were part of a national scene that was – and still is – called simply «il movimento», a galaxy of occupied social centres, squats, independent radio stations, small record labels, alternative bookshops, student collectives, radical trade unions, etc. In the Italian radical tradition, at least after the Sixties, there was never any clearcut separation between the counterculture and more political milieux. Most of us came from left-wing family backgrounds, had roots in the working class. Punk rock opened our minds during our teenage years, then in the late 1980s and early 1990s Cyberpunk opened them even more, and inspired new practices.

When did you start noticing similarities between Q and QAnon? I know you've tweeted a bit about this, but I'd love to get as many details as I can. I feel like the details around QAnon are so sketchy that it's important to lock in as much as I can here.

We read a lot about the US alt-right, books such as Elizabeth Sandifer's Neoreaction a Basilisk or Angela Nagle's – flawed but still useful – Kill All Normies, and yet we didn't see the QAnon thing coming. We didn't know it was growing on 4chan and some specific subReddits. About six weeks ago, on June 12th, our old pal Florian Cramer – a fellow veteran of the LBP who now teaches at the Willem de Kooning Academy in Rotterdam – sent us a short email. Here's the text:

«It seems as if somebody took Luther Blissett's playbook and turned it into an Alt-Right conspiracy lore. Maybe Wu Ming should write a new article: "How Luther Blissett brought down Roseanne Barr"!»,

After those sentences there was a link to a piece by Justin Caffier on Vice. We read it, and briefly commented on Twitter, then in the following weeks more and more people got in touch with us, many of them Europeans living in the US. They all wanted to draw our attention on the QAnon phenomenon. To anyone who had read our novel, the similarities were obvious, to the extent that all these people were puzzled seeing that no US pundit or scholar was citing the book.

Have there been key moments for you that made you feel like QAnon is an homage to Q? What has lined up the best?

Coincidences are hard to ignore: dispatches signed Q allegedly coming from some dark meanders of top state power, exactly like in our book. This Q is frequently described as a Blissett-like collective character, «an entity of about ten people that have high security clearance», and at the same time – like we did for the LBP – weird "origin myths" are put into circulation, like the one about John Kennedy Jr. faking his own death in 1999 – the year Q was first published, by the way! – and becoming Q. QAnon's psy-op reminds very much of our old «playbook», and the metaconspiracy seems to draw from the LBP's set of references, as it involves the Church, satanic rituals, paedophilia...

We can't say for sure that it's an homage, but one thing is almost certain: our book has something to do with it. It may have started as some sort of, er, "fan fiction" inspired by our novel, and then quickly became something else.

There will be a lot of skepticism I think that an American political movement like QAnon could have been influenced by an Italian novel, how do you think it may have happened?

It's an Italian novel in the sense that it was originally written in Italian by Italian authors, but in the past (nearly) 20 years it has become a global novel. It was translated into fifteen languages – including Korean, Japanese, Russian, Turkish – and published in about thirty countries. It was successful all across Europe and in the English speaking world with the exception of the US, where it got bad reviews, sold poorly and circulated almost exclusively in activist circles.

Q was published in Italian a few months before the so-called "Battle of Seattle", and published in several other languages in the 2000-2001 period. It became a sort of night-table book for that generation of activists, the one that would be savagely beaten up by an army of cops during the G8 summit in Genoa, July 2001. In 2008 we wrote a short essay, almost a memoir, on our participation to those struggles and Q's influence in those years, titled Spectres of Müntzer at Sunrise. A copy of Q's Spanish edition even ended up in the hands of subcomandante Marcos. It isn't at all unrealistic to imagine that it may have inspired the people who started QAnon.

Have you seen anything in the QAnon posts that leads you to suspect any activist group in particular is behind it?

No, we haven't.

You think QAnon is a prank? Without some kind of reveal it's obviously hard to see it as that. If you think it was revealed that QAnon was actually some kind of anarchist prank, would it even matter? Would its believers abandon it or would they just see it as a smear campaign?

Let us take for granted, for a while, that QAnon started as a prank in order to trigger right-wing weirdos and have a laugh at them. There's no doubt it has long become something very different. At a certain level it still sounds like a prank, but who's pulling it on whom? Was the QAnon narrative hijacked and reappropriated by right-wing "counter-pranksters"? Counter-pranksters who operated with the usual alt-right "post-ironic" cynicism, and made the narrative more and more absurd in order to astonish media pundits while spreading reactionary content in a captivating way?

Again: are the original pranksters still involved? Is there some detectable conflict of narratives within the QAnon universe? Why are some alt-right types taking the distance from the whole thing and showing contempt for what they describe as «a larp for boomers»?

A larp it is, for sure. To be more precise, it's a fascist Alternate Reality Game. Plausibly the most active players – ie the main influencers – don't believe in all the conspiracies and metaconspiracies, but many people are so gullible that they'll gulp down any piece of crap – or lump of menstrual blood, for that matter. Moreover, there's danger of gun violence related to the larp, the precedent of Pizzagate is eloquent enough. What if QAnon inspires a wave of hate crimes?

Therefore, to us the important question is: triggering nazis like that, what is it good for? That camp is divided between those who would believe anything and those who would be "ironic" on anything and exploit anything in order to advance their reactionary, racist agenda. Can you really troll or ridicule people like those?

It's hard to foresee what would happen if QAnon were exposed as an anarchist/leftist prank on the right. If its perpetrators claimed responsibility for it and showed some evidence (for example, unmistakeable references to our book and the LBP), would the explanation itself become yet another part of the narrative, or would it generate a new narrative encompassing and defusing the previous one? In plain words: which narrative would prevail? «QAnon sucking anything into its vortex» or «Luther Blissett's ultimate prank»?

In any case, we'd never have started anything like that ourselves. Way too dangerous.