acid communism

thirdform

pass the sick bucket
on culture:
The carlylean great man of the future. A mix of Mussolini, Clement Atley and Elon Musk with a sprinkling of oprah.

this is what we need to avoid.
 

thirdform

pass the sick bucket
The CIA figured I could be lured into this imbroglio if Hornblower let it slip that Guelph and Chibelline, the artists who were actually faking up the Wyndham Lewis pictures, were also involved in organised neo-fascism and ran a sinister organisation called Cunt Lickers Anonymous, which was designed to strengthen patriarchy by ridding the nationalist movement of hen-pecked husbands. Guelph and Chibelline's work was familiar to me, their monumental photography clearly operated within the discourse of totalitarian art, and I also knew that Toni Duffer had a hard time selling their pictures on anything other than tick. However, it was news to me that these two dickheads were so strapped for cash that they'd taken to counterfeiting work by the Vorticist Wyndham Lewis. Since art is a bulwark of the liberal state, the CIA felt their hands were tied, it would reflect very badly on them if it ever came out that one of their agents had knocked off Guelph and Chibelline, which is why they wanted me to do the dirty work.

I spent some time going through all the angles with Hannah, and eventually we agreed that we'd keep quiet about the fact that I'd rumbled her cover. After all, while I wasn't interested in doing the CIA's dirty work, particularly if I wasn't going to be paid, I did want to take out Guelph and Chibelline who were even more reactionary than the average representative of serious culture.

https://www.stewarthomesociety.org/Stories/lick.htm
 

luka

Well-known member
the light hits the crystal and splits into
rainbows which accounts for the stained glass of cathedrels
and the ceilings of mosques.
Ray Cappuccino

sound is subject to the same splintering. the angelic music
refracted in the crystal.
Ray Cappuccino

you can hear the angle of refraction as you move across the surface
of the globe. the way the pipes and flutes speak. from scotland and ireland
through the sahel across the world island, armenia, iran, bulgaria,
all the way to east asia
china, japan, korea
Ray Cappuccino

which is what i meant when i wrote "moorish-gael/bagpipes cross the valence-border"
Ray Cappuccino

you're tracking the angle of refraction across the curve of the planet
 

thirdform

pass the sick bucket
Deleuze and Guattari is like prog rock if it was made by mutualist market anarchists so it actually lives up to its futurist promises than most prog (more like Magma than Rush.) but its still a perpetual wibbly guitar solo that doesn't know when to cut it down. that's what i rate in their work tbh. Someone should write some sci-fi like that.
 
well, i think i agree which is why i think the avant-garde needs to be reunited with the psychedelic which is, after all, just my way of saying the religious.

this is a point of contention between myself and znore who writes the grapejuice blog.
he thinks the new is just commodity fetishism and that we need a return to the neolithic. i don't quite know what that means.

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This podcast was exciting in bits, and also found myself hoping this thinking can get an upgrade... worth a listen, have been enjoying Jeremy Gilbert a lot lately. Main points of contention are 1. the 60s aesthetic, music and references, which might be a necessary starting point but I hope things can evolve to something current / futurist and 2. the distancing from use of psychedelic drugs, and lack of discussion or understanding of current and changing uses of psychedelic use. These points might correlate with what you're saying in that avant-garde thread, gonna work through that now.
 

luka

Well-known member
Its important to think of the psychedelic as a mode of experience and not as a genre.

I dont know anything about communism. Third form handles that line of questioning.
 
Its important to think of the psychedelic as a mode of experience and not as a genre.

I dont know anything about communism. Third form handles that line of questioning.

yeah there's issues of conflation and confusion between substance, aesthetic and effect (all are obviously connected), but that 60s explosion was so potent that we have cultural 'lock-in' around its output. it's interesting to think about how psychedelic modes of experience, the boundary dissolving, 'technologies of non-self' as gilbert calls them might be used for consciousness raising now, getting us to care about politics, art, each other, the planet
 

thirdform

pass the sick bucket
this is the problem k-punk's science fiction materialism (im using that as a compliment) wasn't able to diagnose the historical failures of the left. aesthetically amazing, body without organs but you can't really do history with it cos its too predicated on the imminent. so what happens with Gilbert and all is they start reverting to the failures of the 2nd international.
 
my contention is this: communism is like the qur'an. it will either win or it will lose. it was not a created doctrine so much as an accumulated historical doctrine realised through extremely long stretches of time condensations. If it is wrong then it should be abandoned entirely. It does not need to be modified, updated or revised, let alone rebranded. it was the same theory in 1844 and it will be the exact same theory in 2050. all the nuts and bolts of class based gender, race and disability politics are contained within the kernel of the economic and philosophical manuscripts of 1844.

What communists need to do, however, is interface with peoples cultural needs, and situate them in the historical trajectory of societal transformation. this is why I don't understand the reversion to archaism. floyd tels us nothing relevant today.

so it's the aesthetic stuff that's part of the issue in terms of wider engagement, cultural needs, you think? unless you're into psychedelics or a communist, both 'acid' and 'communism' separately evoke boring imagery, woo-woo crusty graphic design or bleak and humourless. what exciting stuff should we plugging into, what emerging ideas, technologies should we be joining dots between?
 

luka

Well-known member
For me the conversation is the model. What I try to do on dissensus is a kind of precursor to what I hope to do on a larger scale in the meat-district.
A conversation is a kind of microcosm of a 'scene' after all. How do you drive particpation without diluting quality of contrubution. How do you build momentum so its no longer dependent on its initial catalysts. How do you nurture without mollycoddling. How do you ensure its robust enough to thrive on dissent, criticism, disagreement without it losing its essential unity of purpose and direction.
 

luka

Well-known member
My assumption, or act of faith, is that if you can meet peoples needs, creative, intellectual, spiritual, emotional etc within the conversation you can work out from there.

You've won the space in which to work. You've harnessed the energies and can direct them to a greater goal, ultimately, the creation of a human society. The same principles apply.
 

luka

Well-known member
Think of how a word like 'jazz' operated for decades as an umbrella for a conversation and an active sphere of investigation, containing all sorts of disparate, contradictory visions and modes of operation. Harnessed those energies,those competitive duelling energies, to a single purpose.
 

luka

Well-known member
And part of this is trust. So I dont have to be solely dependent on my own responses, my own information gathering, my own knowledge base, my own judgement. A conversation has multiple vantages. Many eyes, many ears, speaks from many mouths. Distributed throughout space. Sometimes the speaker/sometimes the listener. It works much better that way.
 
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