Tiqqun | This Is Not a Program

“’77 wasn’t like ’68. ’68 was anti-establishment, ’77 was radically alternative. This is why the ‘official’ version portrays ’68 as good and ’77 as bad; in fact, ’68 was co-opted whereas ’77 was annihilated. This is why, unlike ’68, ’77 could never make for an easy object of celebration.”
— Nanni Balestrini, Primo Moroni, L’orda d’oro

The Angry Brigade: Communiques and Documents

Introduction The eight libertarian militants on trial in the Old Bailey in 1972 who were chosen by the British State to be the ‘conspirators’ of the Angry Brigade, found themselves facing not only the class enemy with all its instruments of repression, but also the obtusity and incomprehension — when not condemnation — of the organised left. Described as ‘mad’, ‘terrorists’, ‘adventurists’, or at best authors of ‘gestures of a worrying desperation’, the Angry Brigade were condemned without any attempt to analyse their actions or to understand what they signified in the general context of the class struggle in course….

Guy Debord | All the King’s Men

What is poetry if not the revolutionary moment of language, inseparable as such from the revolutionary moments of history and from the history of personal life? […] The point is not to put poetry at the service of revolution, but to put revolution at the service of poetry. […] Every revolution has been born in poetry, has first of all been made with the force of poetry. This phenomenon continues to escape theorists of revolution — indeed, it cannot be understood if one still clings to the old conception of revolution or of poetry . . .

Henri Chopin

  Born in 1922 in Paris, Chopin is one of the key figures of the international neo-avantgarde. His career goes back to the fifties, and he was one of the founders of sound poetry. During World War II he was obliged to do forced labour in 1942, and a year later, the Germans deported him to Olomuk in Czechoslovakia. Between 1944 and 1945 he found himself on the ‘death march’ towards Russia. The terrible conditions during the war were a source of inspiration for his works, but 1955 saw a turning point in his poetical interests. On the island of…

Theses on the Paris Commune | Guy Debord, Attila Kotányi & Raoul Vaneigem

The Commune represents the only implementation of a revolutionary urbanism to date — attacking on the spote the petrified signs of the dominant organization of life, understanding social space in political terms, refusing to accept the innoncence of any monument. Anyone who disparages this attack as some “lumpenproletarian nihilism,“ some “irresponsibility of the pétroleuses,“ should specify what he believes to be of positive value in the present society and worth preserving (it will turn out to be almost everything).

Guy Debord | Society of the Spectacle

Guy Debord | Society of the Spectacle PDF   & Society of the Spectacle (New Annotated Translation of the book by Ken Knabb) PDF   Society of the Spectacle is a black and white 1973 film by the Situationist Guy Debord based on his 1967 book of the same name. It was Debord’s first feature-length film. It uses found footage and detournement in a radical Marxist critique of mass marketing and its role in the alienation of modern society.     Preface to the Third French Edition of The Society of the Spectacle La Société du spectacle was first published…

Guy Debord | In girum imus nocte et consumimur igni

Guy Debord | In girum imus nocte et consumimur igni   I will make no concessions to the public in this film. I believe there are several good reasons for this decision, and I am going to state them. In the first place, it is well known that I have never made any concessions to the dominant ideas or ruling powers of my era. Moreover, nothing of importance has ever been communicated by being gentle with a public, not even one like that of the age of Pericles; and in the frozen mirror of the screen the spectators are not…