“No one today can reasonably doubt the existence or the power of the spectacle; on the contrary, one might doubt whether it is reasonable to add anything on a question which experience has already settled in such draconian fashion.” – Guy Debord, Comments on the Society of the Spectacle, 1989
Within five years of writing these lines, Guy Debord – author, filmmaker, and leader of a coterie of radical intellectuals known as the Situationist International – despairing at the ever quickening advance of the society he opposed, brought his own life to an end. He had lived long enough to see the collapse of the bipolar world order of the Cold War and the Americanization of the world.
There are different methods of celebrating an anniversary. There is that which looks back with pure nostalgia; a soft, uncritical reification that half expects time to repeat itself. It is safe to say that the vast majority of anniversaries are celebrated in such a way.
Then there is the method of commemoration that looks forward, that intrinsically understands history as a constant process, unfolding in this way or that depending on who pushes, who is pushed, and whether they are willing to push back. Not events as blueprints, but as ruptures and openings though which we can see a different future.
When I was a kid, I read a spoof in a nickelodeon about what it was like to watch a World War Two film with a German Shepherd. The punchline was that the dog always rooted for the wrong side. Viewing Hulu’s adaptation of Margaret Atwood’s 1985 sci-fi novel, The Handmaid’s Tale, I couldn’t help but to think of all the viewers who were sharing a sofa with friends, family, and lovers, who, openly or not, may view Gilead, the theocratic, dystopic, man-scape setting for the story, with a palate falling well short of the distaste intended by the filmmakers.
The opening page of War Primer contains a short, four-line poem:
Like one who dreams the road ahead is steep
I know the way Fate has prescribed for us
That narrow way towards a precipice.
Just follow. I can find it in my sleep.
Denis Villeneuve’s Blade Runner 2049 is the much-anticipated sequel to the 1982 cult film directed by Ridley Scott. Like the original, 2049 is a visually stunning depiction of our potential dystopian future; one that if we read it in its historical context provides for us a detailed cognitive mapping of the continued decline of unfettered multinational capitalism. Also, like the original, the new film provides a surface level portrayal of the world that, if read in spatial terms, maps for us many of the contours of the rhizomatic networks of contemporary capital...
Red Wedge will be presenting two panels at this year's Historical Materialism London conference. This year's conference takes place at the confluence of three auspicious anniversaries: the 20th anniversary of the HM journal, the 150h anniversary of the publication of Marx's Capital, and the 100th anniversary of the Russian Revolution.
It is no surprise to anyone familiar with Red Wedge that we share HM's commitment to Marxism's reinvention and rediscovery. Which is why we are glad to be contributing these panels, dedicated to a creative and critical assessment of the Marxist aesthetic experience.
There’s something strange about the strange – and unpacking that something is the task Mark Fisher sets himself in this lucid little book. The Weird and the Eerie marshals a series of essays into a sharp theoretical intervention, argued tightly and packed tersely into 120 pages.
Specifically: there are two distinct modes of the strange – the weird and the eerie – and this distinction revolves around the different ways they deal with exteriority. The weird involves an irruption of the out-there in here: “the weird is that which does not belong”, hence its close affinity with fantastic fiction.
It has been a century since the Russian Revolution. The occasion has naturally provoked all manner of commemorations. The establishment calls it an unfortunate sequence of events never to be repeated, the right spits its vicious bile at the memory of a workers’ world, and the Left, to one degree or another, celebrates and analyzes and tries to ask how to make the history come alive again. How to make the dream of total liberation, of workers power and radical democracy, into a reality.
Barred temptations is how secrets begin
Erratic desires to seize his prize
Pushes him to conspire from within
Now, a friend, and admired in her eyes
Slyly he fills the post of absent love
Easily ‘cause Absentee was ten years
At some point or another, every artist ponders their purpose. Do they matter? To whom and in what way? What does it even mean to be relevant? And as the world changes quickly, will their art, their music, their words, continue to have an impact?
Algiers consciously ask these questions of themselves, and are constantly aware that doing so both is and requires a struggle. One of the things that makes them such a notable act is that their consciousness of this both ideologically and structurally.