Notices by Rasmus Fleischer (rasmusfleischer@tldr.nettime.org), page 3

@phoenaros Indeed!

@phoenaros I found it here:
https://mastodon.online/@streetartutopia/113911199967983209

I HAVE BEEN WRITING THIS THREAD SINCE THE TWENTY FIFTH OF JULY TWO THOUSAND AND TWENTY FOUR

AND THE DICKS KEEP GOING IN THE MOUSETRAPS

DESPITE ALL MY WARNINGS

"When a clown moves into a palace, he doesn't become a king, the palace becomes a circus." (some street art)

Or maybe... the palace is just returning to its original form?

According to some anthropologists, the court essentially began as a circus, a "theatre state" as Clifford Geertz termed it. Which must of course be a very ambigous and possibly terrible thing. I think that Graeber & Wengrow's "The dawn of everything" has some brief but nuanced thoughts on that point.

dj yastreb – если че (ft. 4k)
face – тяжёлый металл
дети rave – бал
thekomakoma – сердечко
icegergert – международный андерграунд (santi & yunpronto dub remix)
zapravka – кислый данс
alyona alyona – дикі танці (vilnyy remix)
дети rave – урыл 0$
дети rave – abonnement (eisey remix)
prid prod – нєт!
thekomakoma – поляна поліна , уляна аліна
thekomakoma – водний спорт
прыгайтрясись – kubaii
dj yastreb – cамый пьяный округ в мире (ft. macan vandalized mix)
boulevard depo – ayой (dj angel edit)
boulevard depo & лауд – white trash [orbly + boris redwall remix]
dj yastreb – дую дую (ft. mayot)
dj yastreb – гоша рубчинский (ft. face vandalized mix)
прыгайтрясись – ондаблокк
ram, boris redwall – токсин-2
zapravka – застольная
hard bass school – narkoman
zapravka - депутатская
thekomakoma – сніжинки
prid prod – я каифую
billx & otyken – my wing (rave music edit)
pussy riot – track about good cop (99jakes remix)
wixapol & eurodanek – moja era
thekomakoma – танцюю сам

баслайн бізнес
https://soundcloud.com/rasmusfleischer/baba-bomba-diskoteka-babajan-25-jan-2025
#slavgrime #folkdonk #turbotrance

@Iguanadelmar @HeavenlyPossum @PallasRiot Yes, that's basically how I see it. Not saying that everybody calling themselves a Marxist were wrong, of course. But in the 20th century, "Marxism" was mostly – with significant exceptions – an attempt to understand capitalism in order to implement it effectively through the state, not very related to any actual project for overcoming capitalism.
As the so-colled council communists understood quite well, and in line with later theoretical currents like Wertkritik.

I think Marx had the intention to write no less than 6 bands of Capital, one of them dedicated to the state, but never written. Whatever he insisted, I think contemporary Marxian thinkers like Michael Heinrich or Søren Mau are pretty good at theorizing the relation between state and capital at a general level. Not that the state is necessarily just a "tool", but that it is inseparable from capital. Most obviously because it depends on money, which it can only get by taxing the surplus of capital, meaning that the creation of a surplus (within a wage-system) becomes a top priority of the state.

@Iguanadelmar @HeavenlyPossum @PallasRiot I get your point! First of all, I didn't say "Marxism", I said Marx's critique of political economy, i.e. his critique of capitalism, primarily in Capital. One reason that I find that critique important, as because it analyzes capitalism as a historical dynamic, a system with a beginning and (at some point, in some way) and end, with its own limits and crisis tendencies, and closely related to the state. If the modern state-form is dependent on capital, understanding the limits of capital also helps us understanding the limit of state socialism, in all its forms.
On the other hand, if you want a book imagining or proposing solutions, you shouldn't take up Capital. I'd say that falls outside the scope of the project (i.e. the critique of political economy). I also don't think we really need Marx to see coercive power as a fundamental problem. People have understood that for centuries and centuries. But with capitalism, coercive power takes on certain new forms that we need to understand, and I do think Marx' critical theory is vital for this (and that most of what is known as "Marxism" stands in the way of that understanding).

I note that every single American newspaper now has a headline calling David Lynch a "surrealist".
Surely his work was influenced by surrealist cinema, to some degree. Yeah, he was into dreams and the subconscious and symbolism and the like. So that's enough to make him a surrealist? Even if he never expressed himself any form of interest in the surrealist movement?
Indeed, Surrealism was a movement. It was not just a style or an aesthetics, but a movement which also had philosophical and political aims.
The movement maybe was not formal organization, but it had an inside and an outside. Bataille, Artaud, Ernst and Dalí were all expelled from the movement, if I don't remember wrong. Or rather expelled by André Breton, but such a verdict effectively meant that you were not a surrealist anymore: being a surrealist was being part of the surrealist movement. Which of course does not exist anymore. If it had existed, it would possibly expel David Lynch which had been a great thing for headlines now when he's dead. But there are no surrealists in the 21st century, just as there are no situationists.

What's even the point of necessarily bringing up an -ism when summing up Lynch's ouvre?

@HeavenlyPossum @PallasRiot I was just about to write the same comment. To me, Bichler & Nitzan represent precisely an anarchist critique of capitalism, even if they may not use the a-word. And while I personally think that Marx' critique of political economy is immensely more important in the end, I really respect the unique approach of Bichler & Nitzan with its ability to highlight some particular aspects of capitalism, and also its ability to present a stringent critique of the economic statistics which surround us (and which is used rather uncritically even by many Marxists).

This collaboration by the two producers was on my list of 2023's best albums and is a good reason to not rely on Spotify for music listening:
https://omunit.bandcamp.com/album/in-the-afterworld
#acid #dub #music

In recent days, two excellent producers of electronic music have both decided to take down all their music from Spotify.
Om Unit and Andreas Tilliander (TM404, Mokira) point to Daniel Ek's investments in war technologies, as well as Spotify's algorithmic attempts to steer music listening towards cheap, meaningless muzak by "fake artists" (an elaborat plan which is described in a book released next month by journalist Liz Pelly).

#acid #dub #ambient #techno #spotify #fuckspotify

"Any analysis of the re-election of Trump must depart from the George Floyd revolt, which remains the most important “political,” or rather anti-political, event in recent American history.
...
That the Black-led, multiracial revolt went entirely unmentioned during the election reveals the extent to which the ruling class remains united where the most important conflict is concerned. We may witness a shit show of competing factions of the local capitalist class jockeying for advantage over other members of the ruling class, but they are all in agreement that another revolt on the scale of 2020 must be kept at bay."

Mikkel Bolt Rasmussen in a new piece at @IllWill:
https://illwill.com/class-struggle-in-what-society

@konkrit But are they even red-painted? In a sense they are, for historical reasons. But looking at BSW today, how they present themselves in words and in images, I can't see much of an attempt to appear (even on the surface) like a red, socialist or working-class party. As someone said, they seem more willing to look like some regional bank office.

For this week's Flamman, I wrote a pretty long piece about Bündnis Sahra Wagenknecht, countering the misunderstanding that this party would represent any kind of "radical" or "extreme" left. (There really are leftists outside Germany who seem to believe that BSW represents a return to a "classical", class-based leftist politics, and that "the left" should learn this from Wagenknecht's relative success.)

But if anything, BSW is a centrist party and its program almost could have been written by ChatGPT; it reads like a statistical average of the programs of Germany's other parties.
Sahra Wagenknecht is also not very keen of talking about class. The party's economic policy is just a banal form of (ordo)liberal nationalism, based on a romanticized image of the "Mittelstand" (which is indeed a very centrist word, like "Mittelmacht" also is). It is the interests of German industry that motivates BSW's pro-fossil and pro-Russia stance.
I'd say that BSW's politics demonstrates that such a repulsive politics can still be very much centrist. It would be a mistake to assume that you only could find Putinversteher, or pro-Russia positios, at the so-called political fringes.

Oh, and in the same text, I also write a bit about my own relatives in Erzgebirge, my memories from visiting DDR as a child, and more generally about the economic geography of (eastern) Germany.

https://www.flamman.se/i-hastskons-mitt/

South Korean #protest #music of the 1970's and 1980's, right now on NTS:
https://www.nts.live/shows/phambinho/episodes/phambinho-23rd-march-2021 🇰🇷✊ #korea #southkorea

"It’s as if America is the only nation worth investing in. ...
Though most observers think the world is increasingly multipolar, investors believe it is increasingly unipolar ...
America is over-owned, overvalued and overhyped to a degree never seen before. As with all bubbles, it is hard to know when this one will deflate, or what will trigger its decline. But I will sketch out some of the possible scenarios in my next column."

Ruchir Sharma (chairman of Rockefeller International) in Financial Times: https://on.ft.com/3CSS2Vv
#economy #finance #bubble #crisis

I am quite sure that Fracture made the album of the year. SLOW860 is a magnific work of ambient music, or sound art, reflecting past experiences of jungle music and #pirate #radio in London, while somehow creating its own canon through all its subtle references to The KLF's Chill Out, and the similarilty of Fracture's approach to Burial's Untrue and, thus, the implied relation to Mark Fisher's take on Derrida's #hauntology. In any case, neither #jungle heads nor #ambient connoisseurs should miss this. And this is just one of three tapes, based on the same musical material but in different levels of intensity, in Fracture's new triple-cassette box.

https://fracture.bandcamp.com/album/slow860

@gerrymcgovern This might be less paradoxical than it sounds. We have to factor in the generational divide which tends to limit the consumption opportunities of younger population. Then it's not that strange to be in favor of degrowth as a collective project, while individually acting within the constraints of the current system.
Particularly, the generational divide (on a global scale) is related to housing. But maybe older people living extravagantly does not count as "consumption"?

"Early Music for Late Humanity", the second album by Vox Vulgaris, is finally out. We worked on this for over a year, together with an outstanding duo of producers.

Basically, the A-side is more up-tempo, the B-side more psychedelic. The whole artistic approach is thoroughly anti-fascist.

Users of Spotify listen here: https://open.spotify.com/album/4TOLD54BquGunhwBpsCJEl
Read the full liner notes on Bandcamp: https://voxvulgaris.bandcamp.com/album/early-music-for-late-humanity
Discogs: https://www.discogs.com/release/32447319-Vox-Vulgaris-Early-Music-for-Late-Humanity

"Always too late and always too early, Vox Vulgaris has become the epitome of a post-authentic approach to #medieval music. While the melodies have been revived from manuscripts, the group has cultivated a liberal approach to improvisation, rhythm, and other aspects of the music for which the Middle Ages had no means of preservation."

#medievalmusic #music #psychedelia #psychedelicmusic #ambient #polyrhythm #drone #antifascism #earlymusic #VoxVulgaris