Manifesto for international Revolution, half three is an artwork Novella that explores what it skill to seem in the direction of the longer term in a time the place we will simply define the geo-political implications of weather switch. In it, we hint the heritage of the eras during the connection of artwork and conflict, transcending our strategies of growth and rediscovering the roots of anarchism.
May love and revolution upward thrust from the ashes of this demise civilization.
Andy Merrifield on Marxism and citizenship
Gwynne Dyer discusses the truth of weather wars
Matthew Bartlett on New Zealand’s Occupy experience
Peter Pomerantsev on Euromaiden and the spirit of revolution
Simon Critchely at the western roots of the Islamic State
Kalle Lasn and Darren Fleet on global struggle 3
Tyson Kelsall, Sasha Lakic and Joshua Gabert-Doyon record from the frontlines of scholar activism
With this factor, we’re relocating ever toward a second of worldwide progressive fervor. This December, we’re making plans a #billionpeoplemarch, our ultimate stand opposed to an international order which refuses to supply tangible motion within the face of forthcoming weather disaster.
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With my best army friend, a Croat (let’s call him Ivo), I shared poetry — T. S. Elliott, Rilke . . He shared with me the love for Marina, I introduced him to Duineser Elegien and Sonette an Orpheus. We were looking for the poetic in the drab routines of army life. Now when I reflect, we were able to find it — the moments of real humaneness, of warmth... the simple enjoyments of life — a can of meat, a bit of vodka, smuggled into the barracks . . The stress was constant, as we were part of an elite unit — day and night ready to depart to combat.
Doc is the Ukrainian Natalya Vorozhbit, whose play, Maidan: Voices from the Uprising, had a three-day run at the Royal Court last year. It is based on interviews and set right in the middle of the fighting, beating, shooting, praying, burning, bleeding and dying of the revolution. Vorozhbit plucks out little stories: the soup kitchen girls who feed bums and revolutionaries on Maidan as the Berkut riot police approach, their hands trembling so much the soup spills; the teacher who cries every time he hears the national anthem; the girl trapped in the Writers’ Union, where “silver-haired” literary types try to fight the Berkut; the nurse who has to decide which wounded revolutionary will fly to Germany for treatment and which one will die.
The words might as well be the lyrics to an unsatisfying electronic track: all build up . . no bass drop. These twisted pirouettes of accelerating sound drift into polluted air of the endless downtown beneath neon crucifixes. It’s a ghostly wail of empty noise in an electric labyrinth of alleyways, drowning out the gong of a Buddhist prayer bell in the hills. The idea of “chemyon,” translated as “face,” speaks to the Confucianist sense of duty experienced by Koreans but also the desire to present an idealized version of oneself.