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July 25 2013

Hakim Bey Boycott cop culture ! (faites ce que je dis pas ce que je fais - digression à propos de

Hakim Bey
Boycott cop culture !
(faites ce que je dis pas ce que je fais - digression à propos de for @mad_meg)
IF ONE FICTIONAL FIGURE can be said to have dominated the popcult of the eighties, it was the Cop. Fuckin’ police ev- erywhere you turned, worse than real life. What an incredible bore.
Powerful Cops—protecting the meek and humble—at the expense of a half-dozen or so articles of the Bill of Rights- -"Dirty Harry." Nice human cops, coping with human perversity, coming out sweet ’n’ sour, you know, gruff & knowing but still soft inside—Hill Street Blues—most evil TV show ever. Wiseass black cops scoring witty racist remarks against hick white cops, who nevertheless come to love each other—Eddie Murphy, Class Traitor. For that masochist thrill we got wicked bent cops who threaten to topple our Kozy Konsensus Reality from within like Giger- designed tapeworms, but naturally get blown away just in the nick of time by the Last Honest Cop, Robocop, ideal amalgam of prosthesis and sentimentality.

We’ve been obsessed with cops since the beginning—but the rozzers of yore played bumbling fools, Keystone Kops, Car 54 Where Are You, booby-bobbies set up for Fatty Arbuckle or Buster Keaton to squash & deflate. But in the ideal drama of the eighties, the “little man” who once scattered bluebottles by the hundred with that anarchist’s bomb, innocently used to light a cigarette—the Tramp, the victim with the sudden power of the pure heart—no longer has a place at the center of narrative. Once “we” were that hobo, that quasi-surrealist chaote hero who wins thru wu- wei over the ludicrous minions of a despised & irrelevant Order. But now “we” are reduced to the status of victims without power, or else criminals. “We” no longer occupy that central role; no longer the heros of our own stories, we’ve been marginalized & replaced by the Other, the Cop.

Thus the Cop Show has only three characters—victim, criminal, and policeperson—but the first two fail to be fully human—only the pig is real. Oddly enough, human society in the eighties (as seen in the other media) sometimes appeared to consist of the same three cliche/archetypes. First the victims, the whining minorities bitching about “rights”—and who pray tell did not belong to a “minority” in the eighties? Shit, even cops complained about their “rights” being abused. Then the criminals: largely non-white (despite the obligatory & hallucinatory “integration” of the media), largely poor (or else obscenely rich, hence even more alien), largely perverse (i.e. the forbidden mirrors of “our” desires). I’ve heard that one out of four households in America is robbed every year, & that every year nearly half a million of us are arrested just for smoking pot. In the face of such statistics (even assuming they’re “damned lies”) one wonders who is NOT either victim or criminal in our police-state-of-consciousness. The fuzz must mediate for all of us, however fuzzy the interface— they’re only warrior-priests, however profane. America’s Most Wanted—the most successful TV game show of the eighties—opened up for all of us the role of Amateur Cop, hitherto merely a media fantasy of middleclass resentment & revenge. Naturally the truelife Cop hates no one so much as the vigilante—look what happens to poor &/or non-white neighborhood self-protection groups like the Muslims who tried to eliminate crack dealing in Brooklyn: the cops busted the Muslims, the pushers went free. Real vigilantes threaten the monopoly of enforcement, lÉse majest­, more abominable than incest or murder. But media(ted) vigilantes function perfectly within the CopState; in fact, it would be more accurate to think of them as unpaid (not even a set of matched luggage!) informers: telemetric snitches, electro-stoolies, ratfinks- for-a-day.

What is it that “America most wants”? Does this phrase refer to criminals—or to crimes, to objects of desire in their real presence, unrepresented, unmediated, literally stolen & appropriated? America most fuck off work, ditch the spouse, do drugs (because only drugs make you feel as good as the people in TV ads appear to be), have sex with nubile jailbait, sodomy, burglary, hell yes. What unmediated pleasures are NOT illegal? Even outdoor barbecues violate smoke ordinances nowadays. The simplest enjoyments turn us against some law; finally pleasure becomes too stress- inducing, and only TV remains—and the pleasure of revenge, vicarious betrayal, the sick thrill of the tattletale. America can’t have what it most wants, so it has America’s Most Wanted instead. A nation of schoolyard toadies sucking up to an elite of schoolyard bullies.

Of course the program still suffers from a few strange reality-glitches: for example, the dramatized segments are enacted cinema verit­ style by actors; some viewers are so stupid they believe they’re seeing actual footage of real crimes. Hence the actors are being continually harassed & even arrested, along with (or instead of) the real criminals whose mugshots are flashed after each little documentoid. How quaint, eh? No one really experiences anything—everyone reduced to the status of ghosts—media-images break off & float away from any contact with actual everyday life— PhoneSex—CyberSex. Final transcendence of the body: cybergnosis.

The media cops, like televangelical forerunners, prepare us for the advent, final coming or Rapture of the police state: the “Wars” on sex and drugs: total control totally leached of all content; a map with no coordinates in any known space; far beyond mere Spectacle; sheer ecstasy (“standing- outside-the-body”); obscene simulacrum; meaningless violent spasms elevated to the last principle of governance. Image of a country consumed by images of self-hatred, war between the schizoid halves of a split personality, Super-Ego vs the Id Kid, for the heavyweight championship of an abandoned landscape, burnt, polluted, empty, desolate, unreal. Just as the murder-mystery is always an exercise in sadism, so the cop-fiction always involves the contemplation of control. The image of the inspector or detective measures the image of “our” lack of autonomous substance, our transparency before the gaze of authority. Our perversity, our helplessness. Whether we imagine them as “good” or “evil,” our obsessive invocation of the eidolons of the Cops reveals the extent to which we have accepted the manichaean worldview they symbolize. Millions of tiny cops swarm everywhere, like the qlippoth, larval hungry ghosts—they fill the screen, as in Keaton’s famous two-reeler, overwhelming the foreground, an Antarctic where nothing moves but hordes of sinister blue penguins.

We propose an esoteric hermeneutical exegesis of the Surrealist slogan “Mort aux vaches!” We take it to refer not to the deaths of individual cops (“cows” in the argot of the period)—mere leftist revenge fantasy—petty reverse sadism—but rather to the death of the image of the flic, the inner Control & its myriad reflections in the NoPlace Place of the media—the “gray room” as Burroughs calls it. Self-censorship, fear of one’s own desires, “conscience” as the interiorized voice of consensus- authority. To assassinate these “security forces” would indeed release floods of libidinal energy, but not the violent running-amok predicted by the theory of Law ’n’ Order.

Nietzschean “self-overcoming” provides the principle of organization for the free spirit (as also for anarchist society, at least in theory). In the police-state personality, libidinal energy is dammed & diverted toward self-repression; any threat to Control results in spasms of violence. In the free-spirit personality, energy flows unimpeded & therefore turbulently but gently—its chaos finds its strange attractor, allowing new spontaneous orders to emerge.

In this sense, then, we call for a boycott of the image of the Cop, & a moratorium on its production in art. In this sense...


Avec la voix de Hakim Bey et la musique de Bill Laswell

#musique #taz #police #culture

April 05 2013

Kirchenzeitung fühlt sich von taz-Troll provoziert

Es ist nur eine Petitesse, aber ein amüsante. Was der BILD ihr Franz-Josef Wagner, ist bekanntlich der taz ihr Deniz Yücel. Die sachliche und konstruktive Kritik ist ihre Sache nicht. Mitte März lästert Yücel unter der Überschrift “Junta-Kumpel löst Hitlerjunge ab” über den neuen Papst und die Kirchenzeitung “Der Pilger” fühlt sich provoziert. Man spricht von faschistoider Wortwahl und beschwert sich beim Presserat wegen Verstoß gegen den Pressekodex. Eine Klage wie gegen das Satire-Magazin Titanic war wohl nicht zu organisieren.

Die Wortwahl des plumpen Provokateurs Yücel ist tatsächlich starker Tobak. Dennoch wäre die Kirchenzeitung besser beraten gewesen, den Troll nicht zu füttern. Denn das wird ihn nur ermuntern und die taz wird uns auch weiterhin mit der verzichtbaren Kolumne Yücels behelligen.

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March 14 2011

Der Wochenrückblick: Rapidshare, Schwellenländer-Studie, EU-Patent

Rapidshare muss für Urheberrechtsverletzungen von Nutzern haften, Forscher untersuchen Medienpiraterie in Schwellenländern, das EU-Patent kommt voran.


February 28 2011

taz druckt Holofernes-Brief als bezahlte Werbeanzeige der BILD

Die taz druckt heute eine ganzseitige Werbeanzeige der BILD-Zeitung, die inhaltlich aus einer 1:1 Wiedergabe eines Briefes der Sängerin Judith Holofernes (Wir sind Helden) besteht. Holofernes hatte es in diesem Brief an die Werbeagentur Jung von Matt abgelehnt, an einer Werbekampagne der BILD teilzunehmen.

Dass diese Werbeanzeige der BILD eine Verletzung der Urheber(persönlichkeits)rechte der Musikerin darstellt, an der die taz mitwirkt, ist die eine Sache. Ob die taz-Abonnenten und GenossInnen so begeistert davon sind, dass sich die taz vor den Karren ihres natürlichen Gegners spannen lässt, wird der Verlag vermutlich sehr bald an den Zahlen ablesen können. Mir scheinen hier gewissen Grenzen zu verschwimmen.

Dazu passt auch, dass die taz im heutigen redaktionellen Teil ein Interview mit Judith Holfernes abdruckt, das Josef Winkler geführt hat. Der Musikjournalist Josef Winkler gehört der Redaktion der Musikzeitschrift Musikexpress an, die von der Axel Springer Mediahouse Berlin GmbH verlegt wird.

Wenn also Springer-Journalisten nebenbei für die taz arbeiten, ist es sicherlich auch konsequent, wenn man ganzseitige Anzeigen der BILD druckt. Vielleicht ergeben sich hieraus aber auch keinerlei Abhängigkeiten und ich habe nur den subversiven Charakter dieser Aktion verkannt.

November 07 2010


Foto: Christian Ditsch,, c

Roma sind Europa

Die Bilder der abgeschobenen Roma aus Frankreich sorgen allerorts für Aufsehen. Auch in Deutschland drohen Abschiebungen – bisher ohne große Empörung. Eine taz-Beilage von Aktion Sühnezeichen, unterstützt von der Amadeu Antonio Stiftung, klärt auf.

Dass die Mauer in Berlin aufging, war ein Glück, von dem die Deutschen dachten, es beträfe nur sie selbst. Doch da waren die Migranten, denen das deutsche Schicksal mit einem Mal näher kam, als ihnen lieb war. Und dann kamen die Roma – aus Rumänien und Jugoslawien. Sie sind Europa und wurden überall brutal verfolgt. Gleich nach der Maueröffnung landeten sie am Bahnhof Lichtenberg, wo Skinheads und Polizisten sie mit Stöcken erwarteten. Damit sie bleiben konnten, haben wir dabei geholfen, dass sie sich selbst organisieren, Schulen besuchen, erfolgreich arbeiten können. Die nun so „Integrierten“ abzuschieben ins Ungewisse ist moralisch, politisch, wirtschaftlich und nicht zuletzt menschlich ein Desaster. Die Roma abzuschieben heißt: Europa abzuschieben und mit ihm seinen Reichtum und seine Geschichte.

Von Anetta Kahane

Das pdf zur Beilage zum Download

Das Schicksal von Johann Trollmann

Zero Tolerance für Roma

Was ist Antiziganismus?

November 10 2009

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