By Chris Kraus, Sylvère Lotringer
Compiled in 2001 to commemorate the passing of an period, Hatred of Capitalism brings jointly highlights of Semiotext(e)'s so much loved and prescient works. Semiotext(e)'s three-decade background mirrors the background of yank inspiration. based by way of French theorist and critic Sylvere Lotringer as a scholarly magazine in 1974, Semiotext(e) quick took at the project of melding French idea with the American artwork global and punk underground. Its international brokers, local brokers, lively brokers and Double brokers imprints have introduced jointly thinkers and writers as diversified as Gilles Deleuze, Assata Shakur, Bob Flanagan, Paul Virillio, Kate Millet, Jean Baudrillard, Michelle Tea, William S. Burroughs, Eileen Myles, Ulrike Meinhof, and Fanny Howe. In Hatred of Capitalism, editors Kraus and Lotringer deliver those humans jointly within the comparable quantity for the 1st time.
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Additional info for Hatred of Capitalism: A Semiotext(e) Reader
I am a small communist bureaucracy: what should I do if the central power collapses? Become a little nationalist bureaucracy by means of a little genocide. A small project, but a real threat. ). It is even simmering in the pots of the extreme-right National Front party in France, great admirers of the Chetniks and Ustachis. It is a means of resisting globalized capitalism through fantasy. In fact, in certain cases, it is in the interest of the multinational forces that organize the market to see local identities and regional vendettas develop in the clouded minds of impoverished peoples, leading them to self-destruction through the resurrection - or pure "invention" - of traditional divisions.
They need a place where they can live and work, where they can dissolve and realign the boundaries between their collective daily life and their performances, the inside of their theater/house, the passersby and traffic in the street. They spend months planning and discussing the details of all of their performances, but they do not rehearse. In Andy Warhol's Last Love, Eva Buchmiller, a young woman with long hair in a short black slip sits in front of a bookcase at a table. She is channeling the voice of the dead Ulrike Meinhof through a set of headphones.
In the script published years after her death in 1976, Meinhof lets her subjects speak in the stark and blunted rhythm of their own words about what keeps them in the streets. She introduces the story of Irena from the observer's stance; "Irena's history was a fairy tale, a joke. " And then Irena's voice takes over... Erica and me used to be allowed out into the courtyard. They were hoping that we'd break something. But we didn't give them that satisfaction. Instead we stayed downstairs and plotted.
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