شبکه‌های چریکی: آنارکولوژی رسانه‌های رادیکال دهه 1970

The radical youth movements of the 1960s and '70s gave rise to both militant political groups ranging from urban guerrilla groups to autonomist counterculture, as well as radical media, including radio, music, film, video, and television. This book is concerned with both of those tendencies considered as bifurcations of radical media ecologies in the 1970s. While some of the forms of media creativity and invention mapped here, such as militant film and video, pirate radio and guerrilla television, fit within conventional definitions of media, others, such as urban guerrilla groups and autonomous movements, do not. Nevertheless what was at stake in all these ventures was the use of available means of expression in order to produce transformative effects, and they were all in different ways responding to ideas and practices of guerrilla struggle and specifically of guerrilla media. This book examines these radical media ecologies as guerrilla networks, emphasising the proximity and inseparability of radical media and political practices. Cover 1 Table of Contents 6 List of Illustrations 8 Fig. 1: Che Guevara, the face of guerrilla subjectivation. 71 Fig. 2: Ulrike Meinhof at the offices of Konkret. 91 Fig. 3: Mini-Manual of the Urban Guerrilla and The Urban Guerrilla Concept. 95 Fig. 4: Baader Meinhof wanted poster. 98 Figs 5 and 6: The Weather Underground Media Ecology: Prairie Fire and Osawatomie. 126 Fig. 7: Weather Underground members in Underground (1975). 134 Fig. 8: The Sex Pistols on the Bill Grundy Show from The Filth and the Fury (Temple, 2000). 171 Fig. 9: The Clash, ‘London Calling’ official music video (1979). 173 Fig. 10: Joe Strummer in Red Brigades T-Shirt from Rude Boy (1980). 174 Fig. 11: Radio Alice as presented in A/Traverso. 187 Fig. 12: The Radio Alice Media Ecology at Work. 189 Fig. 13: Godard’s Le gai savoir (1969) 203 Fig. 14: The audiovision machine of History Lessons. 215 Fig. 15: Alberto Grifi editing Anna (1975). 230 Fig. 16: Fassbinder and Armin Meier in Germany in Autumn (1978). 244 Fig. 17: Archival footage in Germany in Autumn (1978). 246 Fig. 18: Richard Nixon in Millhouse (1971). 251 Fig. 19: ‘This Barrier is a metaphor for the war in Vietnam’: The Weather Underground in Underground (1976). 254 Fig. 20: Ici et Ailleurs (1974), video mixing Golda Meir and Adolf Hitler. 272 Fig. 21: Ici et Ailleurs (1974), alternative modes of editing. 275 Fig. 22: Video superimposition in Six Fois Deux (1976). 279 Fig. 23: Fassbinder’s World on a Wire (1973). 296 Fig. 24: Ant Farm’s Media Burn (1975). 300 Fig. 25: Guerrilla Television manual. 303 Acknowledgements 10 Introduction 12 1. Media (An)archaeology, Ecologies, and Minor Knowledges 16 Introduction: The Long 1970s 16 Concepts of Media Archaeology, Anarcheology and Media Ecologies 23 Radical and Guerrilla Media 34 Popular Cultures, Minor Subjugated Knowledges and Expressive Machines 38 2. Armed Guerrilla Media Ecologies from Latin America to Europe 52 Introduction: Contra ‘Mass Mediated Terrorism’ 52 Revolution in the Revolution: The Urban Guerrilla Concept from Latin America to Europe and North America 56 Brigate Rosse and Armed Struggle in Italy 73 The ‘Baader Meinhof Complex’ and the June 2nd Movement 88 Weather Variations: Weatherman, the Weather Underground, and the Symbionese Liberation Army 107 3. Autonomy Movements, the Nexus of 1977, and Free Radio 138 Introduction: Radical Politics, Bifurcations, and the Event 138 Italian Workerism and Autonomia 143 1977 as Nexus: The Movement of 1977, Creative Autonomia, and Punk 161 Rebellious Radio from Marconi to Free Radios 175 Media beyond ‘Socialist Strategy’: Enzensberger, Baudrillard, and the Genealogy of Radio Alice 179 The Media Ecology of Radio Alice 184 4. Militant Anti-Cinemas, Minor Cinemas and the Anarchive Film 194 Introduction: Destroying the (Cinema) Apparatus, Transforming the (Audiovisual) Machine 194 Militant Anti-Cinemas in the 1970s 200 Minor Anti-Cinemas: Anti Psychiatric, Heretical, Feminist, and Postcolonial 224 The Counter-Public Sphere, Anarchival Film, and Documentary Symptomatologies 242 5. Ecologies of Radical and Guerrilla Television 264 Introduction: Cinema/Television/Video or Cain vs. Abel Revisited 264 Sonimage, Fassbinder, and Radical Auteur Television 269 Ecologies of Guerrilla Television: Ant Farm, Raindance Corporation, TVTV, and Radical Software 299 Conclusion: Terms of Cybernetic Warfare 322 Endnotes 330 Bibliography 340 Key Film, Television, and Video Cited 352 Index 354 The radical youth movements of the 1960s and '70s gave rise to both militant political groups--ranging from urban guerrilla groups to autonomist counterculture--and radical media, including radio, music, film, video, and television. This book is concerned with both of those tendencies considered as bifurcations of radical media ecologies in the 1970s. While some of the forms of media creativity and invention that mapped here, such as militant film and video, pirate radi, o and guerrilla television, fit within conventional definitions of media, others, such as urban guerrilla groups, do not. Nevertheless what was at stake in all these ventures was the use of available means of expression in order to produce transformative effects, and they were all in different ways responding to ideas and practices of guerrilla struggle and specifically of guerrilla media. This book examines these radical media ecologies as guerrilla networks, emphasizing the proximity and inseparability of radical media and political practices. The radical youth movements of the 1960s and '70s gave rise to both militant political groups -ranging from urban guerrilla groups to autonomist counterculture- and radical media, including radio, music, film, video, and television. This book is concerned with both of those tendencies considered as bifurcations of radical media ecologies in the 1970s. While some of the forms of media creativity and invention mapped here, such as militant film and video, pirate radio and guerrilla television, fit within conventional definitions of media, others, such as urban guerrilla groups, do not. Nevertheless what was at stake in all these ventures was the use of available means of expression in order to produce transformative effects, and they were all in different ways responding to ideas and practices of guerrilla struggle and specifically of guerrilla media. This book examines these radical media ecologies as guerrilla networks, emphasising the proximity and inseparability of radical media and political practices

Anatomy Live demonstrates how the implications of the history of anatomical theatre can be seen at work in the appearance of dancing and acting bodies on stage.