Primitive Accumulation; Or, A Virtual Read-In on the London Riots

The blogosphere has a million corners, countless nooks and several large echo-chambers, complete with their own centres of self-congratulatory gravity. All have been aflame over the last week, saturating events, riots and insurgencies with the weight of historical expectation, the political memory of past iteration and the awesome condescension of easy interpretation. Gaps persist: gender and the dynamics of formally opposed masculinities have escaped all but the most cursory attention. It is one paradox of all this profuse commentary that decrying the statements and manifestos of others is the most satisfying and patronising manifesto of all. At its worst, it engages in the fullest of narcissisms (let’s make this about us and the quality of our analysis) whilst proudly displaying its contempt for thought (now is not the time for theory!). And of course, the problems and challenges are real. Much more real than we can face, too real for the sordid postures of moralising (I denounce Satan and all his works!) and liable to stay as real once we paper over them and return to our default settings.

Oh, and I find myself in unsurprising agreement with Joe and Meera (although I think Ken Livingstone’s attempts to make the link to cuts and social marginalisation is more ham-fisted than shameful). Which is all by way of introduction. There are reams to be written on the way the punditocracy and assorted commentariat are deploying (and misapplying) categories of cause, the unstable and multiple uses made of ‘politics’, the questions of historical precedent and historical return, and on and on. Exhaustion at the war of position prevents any such post. Instead, a mix-tape of diagnosis and critique, with both the smooth joins and the subtle dissonances that implies. More useful than a 1,000 faux-fresh words.

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These looters are doing what they’re supposed to; grabbing the goods they see in the shops and can’t buy in a recession. They loot the bling – the sports shoes, gold watches, mobile phones and plasma TVs; and you can recognize the very poor when you see a woman looting potatoes from a corner shop. These acquisitive looters are certainly copying the gold standard of a social contract eroded by and evaporating with the money. These are riots in the cause of consumer goods. Burning and robbing other people’s things is one thing, but soon enough, and with no social cause or justice worth the name, people too become indistinguishable from things: witness the widely-circulated photo of the woman leaping for her life from a burning building; such potential deaths still threaten to bring the house down on top of us. This whole distressing episode began with the police shooting dead a black man in north London they said was a gunman; no evidence he fired a shot, we’re told, but the man was already indistinguishable from his gun.

Gabriel Gbadamosi, ‘The Blazing Light In August’

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International Relations versus Punk Rock (Slight Return)

Nothing could compromise a joint blog project more than disagreement over music. Luckily, this much-delayed follow-up to Joe’s sonic assault on global politics gets to play the role of supplement and supplicant, and not that of adversary. And no, it’s not bloody Christmas-themed.


Nobody was as fully aware of the properly traumatic dimension of the human voice, the human voice not as the sublime, ethereal medium for expressing the depth of human subjectivity, but the human voice as a foreign intruder, nobody was more aware of this than Charlie Chaplin [in The Great Dictator]…Silent figures are basically like figures in cartoons, they don’t know death, they don’t know sexuality even, they don’t know suffering, they just go on in their oral egotistic striving, like cats and mouse in a cartoon: you cut them into pieces, they’re reconstituted. There is no finitude, there is no mortality here. There is evil, but a kind of a naïve, good evil, you are just egotistical, you want to compete, you want to hit the other, but there is no guilt proper. What we get with sound is interiority, depth, guilt, pulpability, in other words the complex oedipal universe. The problem of the film is not only the political problem, how to get rid of totalitarianism, of its terrible seductive power, but it is also this more formal problem, how to get rid of this terrifying dimension of the voice. Or, since we cannot get rid of it, how to domesticate it, how to transform this voice nonetheless into the means of expressing humanity, love, and so on…

[Chaplin’s character] delivers his big speech about the need of love, understanding between people, but there is a catch, even a double catch: people applaud exactly in the same way as they were applauding Hitler. The music that accompanies this great humanist finale, the overture to Wagner’s opera Lohenngrin is the same music as the one we hear when Hitler is daydreaming about conquering the entire world and where he has a balloon in the shape of the globe, the music is the same. This can be read as the ultimate redemption of music, that the same music which served evil purposes can be redeemed to served the good, or it can be read – and I think it should be read – in a much more ambiguous way, that with music we cannot ever be sure, insofar as it externalises our inner passion music is always potentially a threat.

Slavoj Žižek, The Pervert’s Guide To Cinema

We humans are a musical species no less than a linguistic one.

Oliver Sacks, Musicophilia: Tales of Music and the Brain


1. Fugazi, ‘Smallpox Champion’, In On The Kill Taker (1993)

Smallpox champion, U S of A
Give natives some blankets
Warm like the grave
This is the pattern cut from the cloth
This is the pattern designed to take you right out, right out, right out
This is the frontier with winter’s so cold
Greed informs action where action makes bold
To take all the cotton that’s cut from the stalk
Weave the disease that’s gonna take you right out, right out, right out
What is good for the future what was good for the past
What is good for the future…won’t last
Bury your heart U S of A
History rears up to spit in your face
You saw what you wanted
You took what you saw
We know how you got it
Your method equals wipe out, wipe out, wipe out
The end of the frontier and all that you own
Under the blankets of all that you’ve done
Memory serves us to serve you
Yet memory serves us to never let you wipe out, wipe out, wipe out
Cha-cha-cha-champion
You’ll get yours
Wipe out

2. Ani Difranco, ‘Fuel’, Little Plastic Castle (1998)

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