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	<title>Gender | Void Network</title>
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		<title>Toward the queerest insurrection</title>
		<link>https://voidnetwork.gr/2018/09/29/toward-queerest-insurrection/</link>
		
		<dc:creator><![CDATA[crystalzero72]]></dc:creator>
		<pubDate>Sat, 29 Sep 2018 16:49:57 +0000</pubDate>
				<category><![CDATA[Theory]]></category>
		<category><![CDATA[Gender]]></category>
		<category><![CDATA[gender politics]]></category>
		<category><![CDATA[Queer]]></category>
		<category><![CDATA[Queer/Trans]]></category>
		<guid isPermaLink="false">https://voidnetwork.gr/?p=16384</guid>

					<description><![CDATA[<p>I Some will read “queer” as synonymous with “gay and lesbian” or “LGBT”. This reading falls short. While those who would fit within the constructions of “L”, “G”, “B” or “T” could fall within the discursive limits of queer, queer is not a stable area to inhabit. Queer is not merely another identity that can be tacked onto a list of neat social categories, nor the quantitative sum of our identities. Rather, it is the qualitative position of opposition to presentations of stability &#8211; an identity that problematizes the manageable limits of identity. Queer is a territory of tension, defined</p>
<p>The post <a href="https://voidnetwork.gr/2018/09/29/toward-queerest-insurrection/">Toward the queerest insurrection</a> appeared first on <a href="https://voidnetwork.gr">Void Network</a>.</p>
]]></description>
										<content:encoded><![CDATA[<h4 id="toc1">I</h4>
<p class="text-justify">Some will read “queer” as synonymous with “gay and lesbian” or “LGBT”. This reading falls short. While those who would fit within the constructions of “L”, “G”, “B” or “T” could fall within the discursive limits of queer, queer is not a stable area to inhabit. Queer is not merely another identity that can be tacked onto a list of neat social categories, nor the quantitative sum of our identities. Rather, it is the qualitative position of opposition to presentations of stability &#8211; an identity that problematizes the manageable limits of identity. Queer is a territory of tension, defined against the dominant narrative of white hetero monogamous patriarchy, but also by an affinity with all who are marginalized, otherized and oppressed. Queer is the abnormal, the strange, the dangerous. Queer involves our sexuality and our gender, but so much more. It is our desire and fantasies and more still. Queer is the cohesion of everything in conflict with the heterosexual capitalist world. Queer is a total rejection of the regime of the Normal.</p>
<h4 id="toc2">II</h4>
<p class="text-justify">As queers we understand Normalcy. Normal, is the tyranny of our condition; reproduced in all of our relationships. Normalcy is violently reiterated in every minute of every day. We understand this Normalcy as the Totality. The Totality being the interconnection and overlapping of all oppression and misery. The Totality is the state. It is capitalism. It is civilization and empire. The totality is fence post crucifixion. It is rape and murder at the hands of police. It is “Str8 Acting” and “No Fatties or Femmes”. It is Queer Eye for the Straight Guy. It is the brutal lessons taught to those who can’t achieve Normal. It is every way we’ve limited ourselves or learned to hate our bodies. We understand Normalcy all too well.</p>
<h4 id="toc3">III</h4>
<p class="text-justify">When we speak of social war, we do so because purist class analysis is not enough for us. What does a marxist economic worldview mean to a survivor of bashing? To a sex worker? To a homeless, teenage runaway? How can class analysis, alone as paradigm for a revolution, promise liberation to those of us journeying beyond our assigned genders and sexualities? The Proletariat as revolutionary subject marginalizes all whose lives don’t fit in the model of heterosexual-worker. Lenin and Marx have never fucked the ways we have. We need something a bit more thorough something equipped to come with teethgnashing to all the intricacies of our misery. Simply put, we want to make ruins of domination in all of its varied and interlacing forms. This struggle inhabiting every social relationship is what we know as social war. It is both the process and the condition of a conflict with this totality.</p>
<h4 id="toc4">IV</h4>
<p class="text-justify">In the discourse of queer, we are talking about a space of struggle against this totality &#8211; against normalcy. By “queer”, we mean “social war”. And when we speak of queer as a conflict with all domination, we mean it</p>
<h4 id="toc5">V</h4>
<p class="text-justify">See, we’ve always been the other, the alien, the criminal. The story of queers in this civilization has always been the narrative of the sexual deviant, the constitutional psychopathic inferior, the traitor, the freak, the moral imbecile. We’ve been excluded at the border, from labor, from familial ties. We’ve been forced into concentration camps, into sex slavery, into prisons. The normal, the straight, the american family has always constructed itself in opposition to the queer.</p>
<p class="text-justify">Straight is not queer. White is not of color. Healthy does not have HIV. Man is not woman. The discourses of heterosexuality, whiteness and capitalism reproduce themselves into a model of power. For the rest of us, there is death. In his work, Jean Genet&nbsp;<a id="fn_back1" class="footnote" href="https://theanarchistlibrary.org/library/mary-nardini-gang-toward-the-queerest-insurrection#fn1">[1]</a>&nbsp;asserts that the life of a queer, is one of exile that all of the totality of this world is constructed to marginalize and exploit us. He posits the queer as the criminal. He glorifies homosexuality&nbsp;<a id="fn_back2" class="footnote" href="https://theanarchistlibrary.org/library/mary-nardini-gang-toward-the-queerest-insurrection#fn2">[2]</a>&nbsp;and criminality as the most beautiful and lovely forms of conflict with the bourgeois world. He writes of the secret worlds of rebellion and joy inhabited by criminals and queers.</p>
<p class="text-justify">Quoth Genet,</p>
<blockquote>
<p class="text-justify">“Excluded by my birth and tastes from the social order, I was not aware of its diversity. Nothing in the world was irrelevant: the stars on a general’s sleeve, the stock-market quotations, the olive harvest, the style of the judiciary, the wheat exchange, flower beds. Nothing. This order, fearful and feared, whose details were all interrelated, had a meaning: my exile.”</p>
</blockquote>
<h4 id="toc6">VI</h4>
<p class="text-justify">A fag is bashed because his gender presentation is far too femme. A poor transman can’t afford his life-saving hormones. A sex worker is murdered by their client. A genderqueer persyn is raped because ze just needed to be “fucked straight”. Four black lesbians are sent to prison for daring to defend themselves against a straight-male attacker.&nbsp;<a id="fn_back3" class="footnote" href="https://theanarchistlibrary.org/library/mary-nardini-gang-toward-the-queerest-insurrection#fn3">[3]</a>&nbsp;Cops beat us on the streets and our bodies are being destroyed by pharmaceutical companies because we can’t give them a dime. Queers experience, directly with our bodies, the violence and domination of this world. Class, Race, Gender, Sexuality, Ability; while often these interrelated and overlapping categories of oppression are lost to abstraction, queers are forced to physically understand each. We’ve had our bodies and desires stolen from us, mutilated and sold back to us as a model of living we can never embody.</p>
<p class="text-justify">Foucault says that</p>
<blockquote>
<p class="text-justify">“power must be understood in the first instance as the multiplicity of force relations immanent in the sphere in which they operate and which constitute their own organization; as the processes which, through ceaseless struggles and confrontations, transforms, strengthens or reverses them; as the support which these force relations find in one another, thus forming a chain or system, or on the contrary, the disjunctions and contradictions which isolate them from one another; and lastly, as the strategies in which they take effect, whose general design or institutional crystallization is embodied in the state apparatus, in the formulation of the law, in the various social hegemonies.”</p>
</blockquote>
<p class="text-justify">We experience the complexity of domination and social control amplified through heterosexuality. When police kill us, we want them dead in turn. When prisons entrap our bodies and rape us because our genders aren’t similarly contained, of course we want fire to them all. When borders are erected to construct a national identity absent of people of color and queers, we see only one solution: every nation and border reduced to rubble.</p>
<h4 id="toc7">VII</h4>
<p class="text-justify">The perspective of queers within the heteronormative world is a lens through which we can critique and attack the apparatus of capitalism. We can analyze the ways in which Medicine, the Prison System, the Church, the State, Marriage, the Media, Borders, the Military and Police are used to control and destroy us. More importantly, we can use these cases to articulate a cohesive criticism of every way that we are alienated and dominated.</p>
<blockquote>
<p class="text-justify">Cooper’s Donuts was an all night donut shop on a seedy stretch of Main Street in Los Angeles. It was a regular hangout for street queens and queer hustlers at all hours of the night. Police harassment was a regular fixture of the Cooper’s, but one May night in 1959, the queers fought back. What started with customers throwing donuts at the police escalated into full-on street fighting. In the ensuing chaos, all of the donut-wielding rebels escaped into the night.</p>
</blockquote>
<p class="text-justify">Queer is a position from which to attack the normative more, a position from which to understand and attack the ways in which normal is reproduced and reiterated. In destabilizing and problematizing normalcy, we can destabilize and become a problem for the Totality.</p>
<p class="text-justify">The history of organized queers was borne out of this position. The most marginalized transfolk, people of color, sex workers &#8211; have always been the catalysts for riotous explosions of queer resistance. These explosions have been coupled with a radical analysis wholeheartedly asserting that the liberation for queer people is intrinsically tied to the annihilation of capitalism and the state. It is no wonder, then, that the first people to publicly speak of sexual liberation in this country were anarchists, or that those in the last century who struggled for queer liberation also simultaneously struggled against capitalism, racism and patriarchy and empire. This is our history.</p>
<h4 id="toc8">VIII</h4>
<p class="text-justify">If history proves anything, it is that capitalism has a treacherous recuperative tendency to pacify radical social movements. It works rather simply, actually. A group gains privilege and power within a movement, and shortly thereafter sell their comrades out. Within a couple years of stonewall, affluent gay white males had thoroughly marginalized everyone that had made their movement possible and abandoned their revolution with them. It was once that to be queer was to be in direct conflict with the forces of control and domination. Now, we are faced with a condition of utter stagnation and sterility. As always, Capital recuperated brick-throwing street queens into suited politicians and activists. There are logcabin Republicans and “stonewall” refers to gay Democrats. There are gay energy drinks and a “queer” television station that wages war on the minds, bodies and esteem of impressionable youth.</p>
<p class="text-justify">The “LGBT” political establishment has become a force of assimilation, gentrification, capital and statepower. Gay identity has become both a marketable commodity and a device of withdrawal from struggle against domination. Now they don’t critique marriage, military or the state. Rather we have campaigns for queer assimilation into each. Their politics is advocacy for such grievous institutions, rather than the annihilation of them all. “Gays can kill poor people around the world as well as straight people!” “Gays can hold the reigns of the state and capital as well straight people!” “We are just like you”. Assimilationists want nothing less than to construct the homosexual as normal &#8211; white, monogamous, wealthy, 2.5 children, SUVs with a white picket fence. This construction, of course, reproduces the stability of heterosexuality, whiteness, patriarchy, the gender binary, and capitalism itself.</p>
<blockquote>
<p class="text-justify">One weekend in August of 1966 &#8211; Compton’s, a twenty four hour cafeteria in San Francisco’s Tenderloin neighborhood was buzzing with its usual late-night crowd of drag queens, hustlers, slummers, cruisers, runaway teens and neighborhood regulars. The restaurant’s management became annoyed by a noisy young crowd of queens at one table who seemed to be spending a lot of time without spending a lot of money, and it called the police to roust them. A surly police officer, accustomed to manhandling Compton’s clientele with impunity, grabbed the arm of one of the queens and tried to drag her away. She unexpected threw her coffee in his face, however, and a melee erupted: Plates, trays, cups and silverware flew through the air at the startled police who ran outside and called for backup. The customer’s turned over the tables, smashed the plate-glass windows and poured onto the streets. When the police reinforcements arrived, street fighting broke out all throughout the Compton’s vicinity. Drag queens beat the police with their heavy purses and kicked them with their high-heeled shoes. A police car was vandalized, a newspaper box was burnt to the ground and general havoc was raised all throughout the Tenderloin.</p>
</blockquote>
<p class="text-justify">If we genuinely want to make ruins of this totality, we need to make a break. We don’t need inclusion into marriage, the military and the state. We need to end them. No more gay politicians, CEOs and cops. We need to swiftly and immediately articulate a wide gulf between the politics of assimilation and the struggle for liberation.</p>
<p class="text-justify">We need to rediscover our riotous inheritance as queer anarchists. We need to destroy constructions of normalcy, and create instead a position based in our alienation from this normalcy, and one capable of dismantling it. We must use these positions to instigate breaks, not just from the assimilationist mainstream, but from capitalism itself. These positions can become tools of a social force ready to create a complete rupture with this world. Our bodies have been born into conflict with this social order. We need to deepen that conflict and make it spread.</p>
<blockquote>
<p class="text-justify">What began as an early morning raid on June 28th 1969 at New York’s Stonewall Inn, escalated to four days of rioting throughout Greenwich Village. Police conducted the raid as usual; targeting people of color, transpeople and gender variants for harassment and violence. It all changed, though, when a bull-dyke resisted her arrest and several street queens began throwing bottles and rocks at the police. The police began beating folks, but soon people from all over the neighborhood rushed to the scene, swelling the rioters numbers to over 2,000. The vastly outnumbered police barricaded themselves inside the bar, while an uprooted parking meter was used as a battering ram by the crowd. Molotov cocktails were thrown at the bar. Riot police arrived on scene, but were unable to regain control of the situation. Drag queens danced a conga line and sang songs amidst the street fighting to mock the inability of the police to re-establish order. The rioting continued until dawn, only to be picked up again at nightfall of the subsequent days.</p>
</blockquote>
<h4 id="toc9">IX</h4>
<p class="text-justify">Susan Stryker writes that the state acts to</p>
<p class="text-justify">“regulate bodies, in ways both great and small, by enmeshing them within norms and expectations that determine what kinds of lives are deemed livable or useful and by shutting down the space of possibility and imaginative transformation where peoples’ lives begin to exceed and escape the state’s use for them.”</p>
<p class="text-justify">We must create space wherein it is possible for desire to flourish. This space, of course, requires conflict with this social order. To desire, in a world structured to confine desire, is a tension we live daily. We must understand this tension so that we can become powerful through it &#8211; we must understand it so that it can tear our confinement apart.</p>
<blockquote>
<p class="text-justify">On the night of May 21st 1979, in what has come to be known as the White Night Riots, the queer community of San Francisco was outraged and wanted justice for the murder of Harvey Milk. The outraged queers went to city hall where they smashed the windows and glass door of the building. The riotous crowd took to the streets, disrupting traffic, smashing storefronts and car windows, disabling buses and setting twelve San Francisco Police cruisers on fire. The rioting spread throughout the city as others joined in on the fun!</p>
</blockquote>
<p class="text-justify">This terrain, born in rupture, must challenge oppression in its entirety. This of course, means total negation of this world. We must become bodies in revolt. We need to delve into and indulge in power. We can learn the strength of our bodies in struggle for space for our desires. In desire we’ll find the power to destroy not only what destroys us, but also those who aspire to turn us into a gay mimicry of that which destroys us. We must be in conflict with regimes of the normal. This means to be at war with everything. If we desire a world without restraint, we must tear this one to the ground. We must live beyond measure and love and desire in ways most devastating. We must come to understand the feeling of social war. We can learn to be a threat, we can become the queerest of insurrections.</p>
<h4 id="toc10">X</h4>
<p class="text-justify">To be clear: We’ve despaired that we could never be as well-dressed or cultured as the Fab Five. We found nothing in Brokeback Mountain. We’ve spent far too long shuffling through hallways with heads hung low. We don’t give a shit about marriage or the military. But oh we’ve had the hottest sex everywhere in all the ways we aren’t supposed to and the other boys at school definitely can’t know about it.</p>
<blockquote>
<p class="text-justify">In 1970, Stonewall veterans, Marsha P. Johnson and Sylvia Rivera founded STAR Street Transvestite Action Revolutionaries. They opened the STAR house, a radical version of the “house” culture of black and latina queer communities. The house provided a safe and free place for queer and trans street kids to stay.</p>
<p class="text-justify">Marsha and Sylvia as the “House Mothers” hustled to pay rent so that the kids would not be forced to. Their “children” scavenged and stole food so that everyone in the house could eat. That’s what we call mutual aid! In the time between the Stonewall Riots and the outbreak of HIV, the queer community of New York saw the rise of a culture of public sex. Queers had orgies in squatted buildings, in abandoned semi-trucks, on the piers and in bars and clubs all along Christopher street. This is our idea of voluntary association of free individuals! Many mark this as the most sexually liberated time this country has ever seen. Though, the authors of this zine wholeheartedly believe we can outdo them.</p>
</blockquote>
<p class="text-justify">And when I was sixteen a would be bully pushed me and called me a faggot. I hit him in the mouth. The intercourse of my fist and his face was far sexier and more liberating than anything MTV ever offered our generation. With the pre cum of desire on my lips I knew from then on that I was an anarchist. In short, this world has never been enough for us. We say to it, “we want everything, motherfucker, try to stop us!”</p>
<blockquote>
<p class="text-justify">let’s get decadent!</p>
<p class="text-justify">filth is our politics!</p>
<p class="text-justify">filth is our life!</p>
<h3 id="text-author"></h3>
<p class="text-justify">_________________________________________________</p>
<p class="text-justify">text by&nbsp;<strong>Mary Nardini Gang</strong></p>
</blockquote>
<p class="fnline"><a id="fn1" class="footnotebody" href="https://theanarchistlibrary.org/library/mary-nardini-gang-toward-the-queerest-insurrection#fn_back1">[1]</a>&nbsp;Jean Genet was a queer, criminal, vagabond who spent his early life traveling around Europe leaving a trail of sordid affairs in his wake. He was sentenced to life in prison after nearly a dozen arrests for theft, prostitution, vagrancy and lewd behavior. While in prison he took up writing and inspired Sarte and Picasso to petition the French government for his release. After his release, he was drafted into the military, only to be released for fucking fellow soldiers. The remainder of his life was marked by flirtations with various revolutionaries, philosophers, uprisings and intifadas. Genet’s life is a beautiful example of revolutionary criminal queer decadence.</p>
<p class="fnline"><a id="fn2" class="footnotebody" href="https://theanarchistlibrary.org/library/mary-nardini-gang-toward-the-queerest-insurrection#fn_back2">[2]</a>&nbsp;“homosexuality” used only as Genet uses it. When speaking of queers, we mean infinitely more.</p>
<p class="fnline"><a id="fn3" class="footnotebody" href="https://theanarchistlibrary.org/library/mary-nardini-gang-toward-the-queerest-insurrection#fn_back3">[3]</a>&nbsp;See the New Jersey 4. And let’s free everyone else while we’re at it.</p>
<p>The post <a href="https://voidnetwork.gr/2018/09/29/toward-queerest-insurrection/">Toward the queerest insurrection</a> appeared first on <a href="https://voidnetwork.gr">Void Network</a>.</p>
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		<item>
		<title>The crisis in modern masculinity- by Pankaj Mishra</title>
		<link>https://voidnetwork.gr/2018/03/27/crisis-modern-masculinity-pankaj-mishra/</link>
		
		<dc:creator><![CDATA[crystalzero72]]></dc:creator>
		<pubDate>Tue, 27 Mar 2018 12:51:30 +0000</pubDate>
				<category><![CDATA[Theory]]></category>
		<category><![CDATA[antisexism]]></category>
		<category><![CDATA[Gender]]></category>
		<category><![CDATA[gender politics]]></category>
		<category><![CDATA[sex]]></category>
		<category><![CDATA[sex industry]]></category>
		<category><![CDATA[theory]]></category>
		<guid isPermaLink="false">https://voidnetwork.gr/?p=15827</guid>

					<description><![CDATA[<p>Luridly retro ideas of what it means to be a man have caused a dangerous rush of testosterone around the world – from Modi’s Hindu supremacism to Trump’s nuclear brinkmanship by Pankaj Mishra On the evening of 30 January 1948, five months after the independence and partition of India, Mohandas Karamchand Gandhi was walking to a prayer meeting at his temporary home in New Delhi when he was shot three times, at point-blank range. He collapsed and died instantly. His assassin, originally feared to be Muslim, turned out to be Nathuram Godse, a Hindu Brahmin from western India. Godse, who made</p>
<p>The post <a href="https://voidnetwork.gr/2018/03/27/crisis-modern-masculinity-pankaj-mishra/">The crisis in modern masculinity- by Pankaj Mishra</a> appeared first on <a href="https://voidnetwork.gr">Void Network</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>Luridly retro ideas of what it means to be a man have caused a dangerous rush of testosterone around the world – from Modi’s Hindu supremacism to Trump’s nuclear brinkmanship</p>
<p>by <a class="tone-colour u-underline" href="https://www.theguardian.com/profile/pankajmishra" rel="author" data-link-name="in standfirst link">Pankaj Mishra</a></p>
<p>On the evening of 30 January 1948, five months after the independence and partition of India, Mohandas Karamchand Gandhi was walking to a prayer meeting at his temporary home in New Delhi when he was shot three times, at point-blank range. He collapsed and died instantly. His assassin, originally feared to be Muslim, turned out to be Nathuram Godse, a Hindu Brahmin from western India. Godse, who made no attempt to escape, said in court that he felt compelled to kill Gandhi since the leader with his womanly politics was emasculating the Hindu nation – in particular, with his generosity to Muslims. Godse is a hero today in an India utterly transformed by Hindu chauvinists – an India in which <em>Mein Kampf</em> is a bestseller, a political movement inspired by European fascists dominates politics and culture, and Narendra Modi, a Hindu supremacist accused of mass murder, is prime minister. For all his talk of Hindu genius, Godse flagrantly plagiarised the fictions of European ethnic-racial chauvinists and imperialists. For the first years of his life he was raised as a girl, with a nose ring, and later tried to gain a hard-edged masculine identity through Hindu supremacism. Yet for many struggling young Indians today Godse represents, along with Adolf Hitler, a triumphantly realised individual and national manhood.</p>
<p>The moral prestige of Gandhi’s murderer is only one sign among many of what seems to be a global crisis of masculinity. Luridly retro ideas of what it means to be a strong man have gone mainstream even in so-called advanced nations. In January Jordan B Peterson, a Canadian self-help writer who laments that “the west has lost faith in masculinity” and denounces the “murderous equity doctrine” espoused by women, was hailed in the <a class="u-underline in-body-link--immersive" href="https://www.nytimes.com/2018/01/25/opinion/jordan-peterson-moment.html" data-link-name="in body link">New York Times</a> as “the most influential public intellectual in the western world right now”.</p>
<p>This is, hopefully, an exaggeration. It is arguable, however, that a frenetic pursuit of masculinity has characterised public life in the west since 9/11; and it presaged the serial-groping president <a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/us-news/2018/jan/03/donald-trump-boasts-nuclear-button-bigger-kim-jong-un" data-link-name="in body link">who boasts of his big penis and nuclear button</a>. “From the ashes of September 11,” the Wall Street Journal columnist <a class="u-underline in-body-link--immersive" href="https://www.wsj.com/articles/SB122451174798650085" data-link-name="in body link">Peggy Noonan exulted a few weeks after the attack</a>, “arise the manly virtues.” Noonan, who today admires Peterson’s “tough” talk, hailed the re-emergence of “masculine men, men who push things and pull things”, such as George W Bush, who she half expected to “tear open his shirt and reveal the big ‘S’ on his chest”. Such gush, commonplace at the time, helped Bush, who had initially gone missing in action on 11 September, reinvent himself as a dashing commander-in-chief (and grow cocky enough to dress up as a fighter pilot and compliment Tony Blair’s “cojones”).</p>
<p>Amid this rush of testosterone in the Anglo-American establishment, many deskbound journalists fancied themselves as unflinching warriors. “We will,” David Brooks, another of Peterson’s fans, vowed, “destroy innocent villages by accident, shrug our shoulders and continue fighting.”</p>
<p>As manly virtues arose, attacks on women, and feminists in particular, in the west became nearly as fierce as the wars waged abroad to rescue Muslim damsels in distress. In <a class="u-underline in-body-link--immersive" href="http://www.nytimes.com/2006/03/19/books/review/whos-the-man.html" data-link-name="in body link"><em>Manliness</em> (2006) Harvey Mansfield</a>, a political philosopher at Harvard, denounced working women for undermining the protective role of men. The historian Niall Ferguson, a self-declared neo-imperialist, bemoaned that “girls no longer play with dolls” and that feminists have forced Europe into demographic decline. More revealingly, the few women publicly critical of the bellicosity, such as Katha Pollitt, Susan Sontag and Arundhati Roy, were “mounted on poles for public whipping” and flogged, Barbara Kingsolver wrote, with “words like bitch and airhead and moron and silly”. At the same time, Vanity Fair’s photo essay on the Bush administration at war commended the president for his masculine sangfroid and hailed his deputy, Dick Cheney, as “The Rock”.</p>
<p>&#8220;Psychotic masculinity can be seen everywhere from ISIS to mass-murderer Anders Breivik, who claimed Viking ancestry. Some of this post-9/11 cocksmanship was no doubt provoked by Osama bin Laden’s slurs about American manhood: that the free and the brave had gone “soft” and “weak”. Humiliation in Vietnam similarly brought forth such cartoon visions of masculinity as Sylvester Stallone and Arnold Schwarzenegger. It is also true that historically privileged men tend to be profoundly disturbed by perceived competition from women, gay people and diverse ethnic and religious groups. In <em>Sexual Anarchy: Gender and Culture at the Fin de Siecle</em> (1990) Elaine Showalter described the great terror induced among many men by the very modest gains of feminists in the late 19th century: “fears of regression and degeneration, the longing for strict border controls around the definition of gender, as well as race, class and nationality”.</p>
<p>In the 1950s, historian Arthur Schlesinger Jr was already warning of the “expanding, aggressive force” of women, “seizing new domains like a conquering army”. Exasperated by the “castrated” American male and his “feminine fascination for the downtrodden”, Schlesinger, the original exponent of muscular liberalism, longed for the “frontiersmen” of American history who “were men, and it did not occur to them to think twice about it”.</p>
<p>These majestically male makers of the modern west are being forced to think twice about a lot today. Gay men and women are freer than before to love whom they love, and to marry them. Women expect greater self-fulfilment in the workplace, at home and in bed. Trump may have the biggest nuclear button, but China leads in artificial intelligence as well as old-style mass manufacturing. And technology and automation threaten to render obsolete the men who push and pull things – most damagingly in the west.</p>
<p>Many straight white men feel besieged by “uppity” Chinese and Indian people, by Muslims and feminists, not to mention gay bodybuilders, butch women and trans people. Not surprisingly they are susceptible to Peterson’s notion that the ostensible destruction of “the traditional household division of labour” has led to “chaos”. This fear and insecurity of a male minority has spiralled into a politics of hysteria in the two dominant imperial powers of the modern era. In Britain, the aloof and stiff upper-lipped English gentleman, that epitome of controlled imperial power, has given way to such verbally incontinent Brexiters as <a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/politics/boris" data-link-name="in body link">Boris Johnson</a>. The rightwing journalist Douglas Murray, among many <a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/books/2017/may/06/strange-death-europe-immigration-xenophobia" data-link-name="in body link">elegists of English manhood</a>, deplores “emasculated Italians, Europeans and westerners in general” and esteems Trump for “reminding the west of what is great about ourselves”. And, indeed, whether threatening North Korea with nuclear incineration, belittling people with disabilities or groping women, the American president confirms that some winners of modern history will do anything to shore up their sense of entitlement.</p>
<p>But gaudy displays of brute manliness in the west, and frenzied loathing of what the alt-rightists call “cucks” and “cultural Marxists”, are not merely a reaction to insolent former weaklings. Such manic assertions of hyper-masculinity have recurred in modern history. They have also profoundly shaped politics and culture in Asia, Africa and Latin America. Osama bin Laden believed that Muslims “have been deprived of their manhood” and could recover it by obliterating the phallic symbols of American power. Beheading and raping innocent captives in the name of the caliphate, the black-hooded young volunteers of Islamic State were as obviously a case of psychotic masculinity as the Norwegian mass-murderer<a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/world/anders-behring-breivik" data-link-name="in body link"> Anders Behring Breivik</a>, who claimed Viking warriors as his ancestors. Last month, the Philippines president Rodrigo Duterte told female rebels in his country that <a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/world/2018/feb/13/philippines-rodrigo-duterte-orders-soldiers-to-shoot-female-rebels-in-the-vagina" data-link-name="in body link">“We will not kill you. We will just shoot you in the vagina.”</a> Tormenting hapless minorities, India’s Hindu supremacist chieftains seem obsessed with proving, as one asserted after India’s nuclear tests in 1998, “we are not eunuchs any more”.</p>
<p>Morbid visions of castration and emasculation, civilisational decline and decay, connect Godse and Schlesinger to Bin Laden and Trump, and many other exponents of a rear-guard machismo today. They are susceptible to cliched metaphors of “soft” and “passive” femininity, “hard” and “active” masculinity; they are nostalgic for a time when men did not have to think twice about being men. And whether Hindu chauvinist, radical Islamist or white nationalist, their self-image depends on despising and excluding women. It is as though the fantasy of male strength measures itself most gratifyingly against the fantasy of female weakness. Equating women with impotence and seized by panic about becoming cucks, these rancorously angry men are symptoms of an endemic and seemingly unresolvable crisis of masculinity.</p>
<p>When did this crisis begin? And why does it seem so inescapably global? Writing <a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/books/2017/jan/23/age-of-anger-pankaj-mishra-rage-rules-politics" data-link-name="in body link"><em>Age of Anger: A History of the Present</em></a>, I began to think that a perpetual crisis stalks the modern world. It began in the 19th century, with the most radical shift in human history: the replacement of agrarian and rural societies by a volatile socio-economic order, which, defined by industrial capitalism, came to be rigidly organised through new sexual and racial divisions of labour. And the crisis seems universal today because a web of restrictive gender norms, spun in modernising western Europe and America, has come to cover the remotest corners of the earth as they undergo their own socio-economic revolutions.</p>
<p>There were always many ways of being a man or a woman. Anthropologists and historians of the world’s astonishingly diverse pre-industrial societies have consistently revealed that there is no clear link between biological makeup and behaviour, no connection between masculinity and vigorous men, or femininity and passive women. Indians, British colonialists were disgusted to find, revered belligerent and sexually voracious goddesses, such as Kali; their heroes were flute-playing idlers such as Krishna. A vast Indian literature attests to mutably gendered men and women, elite as well as folk traditions of androgyny and same-sex eroticism.</p>
<p>These unselfconscious traditions began to come under unprecedented assault in the 19th century, when societies constituted by exploitation and exclusion, and stratified along gender and racial lines, emerged as the world’s most powerful; and when such profound shocks of modernity as nation-building, rural-urban migration, imperial expansion and industrialisation drastically changed all modes of human perception. A hierarchy of manly and unmanly human beings had long existed in many societies without being central in them. During the 19th century, it came to be universally imposed, with men and women straitjacketed into specific roles.</p>
<p>The modern west appears, in the western supremacist version of history, as the guarantor of equality and liberty to all. In actuality, a notion of gender (and racial) inequality, grounded in biological difference, was, as Joan Wallach Scott demonstrates in her recent book <a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/commentisfree/2017/dec/30/secularism-gender-equality-joan-wallach-scott" data-link-name="in body link"><em>Sex and Secularism</em></a>, nothing less than “the social foundation of modern western nation-states”. Immanuel Kant dismissed women as incapable of practical reason, individual autonomy, objectivity, courage and strength. Napoleon, the child of the French Revolution and the Enlightenment, believed women ought to stay at home and procreate; his Napoleonic Code, which inspired state laws across the world, notoriously subordinated women to their fathers and husbands. Thomas Jefferson, America’s founding father, commended women, “who have the good sense to value domestic happiness above all other” and who are “too wise to wrinkle their foreheads with politics”. Such prejudices helped replace traditional patriarchy with the exclusionary ideals of masculinity as the modern world came into being.</p>
<p>On such grounds, women were denied political participation and forced into subordinate roles in the family and the labour market. Pop psychologists periodically insist that men are from Mars and women from Venus, lamenting the loss of what Peterson calls “traditional” divisions of labour, without acknowledging that capitalist, industrial and expansionist societies required a fresh division of labour, or that the straight white men who supervised them deemed women unfit, due to their physical or intellectual inferiority, to undertake territorial aggrandisement, nation-building, industrial production, international trade, and scientific innovation. Women’s bodies were meant to reproduce and safeguard the future of the family, race and nation; men’s were supposed to labour and fight. To be a “mature” man was to adjust oneself to society and fulfil one’s responsibility as breadwinner, father and soldier. “When men fear work or fear righteous war,” as Theodore Roosevelt put it, “when women fear motherhood, they tremble on the brink of doom.” As the 19th century progressed, many such cultural assumptions about male and female identity morphed into timeless truths. They are, as Peterson’s rowdy fan club reveals, more vigorously upheld today than the “truths” of racial inequality, which were also simultaneously grounded in “nature”, or pseudo-biology.</p>
<p>Scott points out that the modes of sexual difference defined in the modernising west actually helped secure, “the racial superiority of western nations to their ‘others’ – in Africa, Asia, and Latin America”. “White skin was associated with ‘normal’ gender systems, dark skin with immaturity and perversity.” Thus, the British judged their Kali-worshipping Indian subjects to be an unmanly and childish people who ought not to wrinkle their foreheads with ideas of self-rule. The Chinese were widely seen, including in western Chinatowns, as pigtailed cowards. Even Muslims, Christendom’s formidable old rivals, came to be derided as pitiably “feminine” during the high noon of imperialism.</p>
<p>Gandhi explicitly subverted these gendered prejudices of European imperialists (and their Hindu imitators): that femininity was the absence of masculinity. Rejecting the western identification of rulers with male supremacy and subjecthood with feminine submissiveness, he offered an activist politics based on rigorous self-examination and maternal tenderness. This rejection eventually cost him his life. But he could see how much the male will to power was fed by a fantasy of the female other as a regressive being – someone to be subdued and dominated – and how much this pathology had infected modern politics and culture.</p>
<p>As Hindu nationalisation got into gear, formerly chubby Bollywood stars began to flaunt bulging biceps.  Its most insidious expression was the conquest and exploitation of people deemed feminine, and, therefore, less than human – a violence that became normalised in the 19th century. For many Europeans and Americans, to be a true man was to be an ardent imperialist and nationalist. Even so clear-sighted a figure as Alexis de Tocqueville longed for his French male compatriots to realise their “warlike” and “virile” nature in crushing Arabs in north Africa, leaving women to deal with the petty concerns of domestic life.</p>
<p>As the century progressed, the quest for virility distilled a widespread response among men psychically battered by such uncontrollable and emasculating phenomena as industrialisation, urbanisation and mechanisation. The ideal of a strong, fearless manhood came to be embodied in muscular selves, nations, empires and races. Living up to this daunting ideal required eradicating all traces of feminine timidity and childishness. Failure incited self-loathing – and a craving for regenerative violence. Mocked with such unmanly epithets as “weakling” and “Oscar Wilde”, Roosevelt tried to overcome, Gore Vidal once pointed out, “his physical fragility through ‘manly’ activities of which the most exciting and ennobling was war”. It is no coincidence that the loathing of homosexuals, and the hunt for sacrificial victims such as Wilde, was never more vicious and organized than during this most intense phase of European imperialism.</p>
<p>One image came to be central to all attempts to recuperate the lost manhood of self and nation: the invincible body, represented in our own age of extremes by steroid-juiced, knobbly musculature. Actually, size matters today much less than it ever did; not many muscles are required for increasingly sedentary work habits and lifestyles. Nevertheless, an obsession with raw brawn and sheer mass still shapes political cultures. Trump’s boasts about the size of his body parts were preceded by <a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/world/gallery/2017/aug/05/sunbathing-in-siberia-vladimir-putins-summer-holiday-in-pictures" data-link-name="in body link">Vladimir Putin’s displays of his pectorals</a> – advertisements for a Russia re-masculinised after its emasculation by Boris Yeltsin, a flabby drunk. But shirtless hunks are also a striking recent phenomenon in Godse’s “rising” India. In the 90s, just as India’s Hindu nationalisation got into gear, formerly scrawny or chubby Bollywood stars began to flaunt glisteningly hard abs and bulging biceps; Rama, the lean-limbed hero of the Ramayana, started to resemble Rambo in calendar art and political posters. These buffed-up bodies of popular culture foreshadowed Modi, who rose to power boasting of his 56-inch chest, and promising true national potency to young unemployed stragglers.</p>
<p>This vengeful masculinist nationalism was the original creation of Germans in the early 19th century, who first outlined a vision of creating a superbly fit people or master race and fervently embraced such typically modern forms of physical exercise as gymnastics, callisthenics and yoga and fads like nudism. But pumped-up anatomy emerged as a “natural” embodiment of the evidently exclusive male virtue of strength only as the century ended. As societies across the west became more industrial, urban and bureaucratic, property-owning farmers and self-employed artisans rapidly turned into faceless office workers and professionals. With “rational calculation” installed as the new deity, “each man”, Max Weber warned in 1909, “becomes a little cog in the machine”, pathetically obsessed with becoming “a bigger cog”. Increasingly deprived of their old skills and autonomy in the iron cage of modernity, working class men tried to secure their dignity by embodying it in bulky brawn.</p>
<p>Historians have emphasised how male workers, humiliated by such repressive industrial practices as automation and time management, also began to assert their manhood by swearing, drinking and sexually harassing the few women in the workforce – the beginning of an aggressive hardhat culture that has reached deep into blue-collar workplaces during the decades-long reign of neoliberalism. Towards the end of the 19th century large numbers of men embraced sports and physical fitness, and launched fan clubs of pugnacious footballers and boxers.</p>
<p>It wasn’t just working men. Upper-class parents in America and Britain had begun to send their sons to boarding schools in the hope that their bodies and moral characters would be suitably toughened up in the absence of corrupting feminine influences. Competitive sports, which were first organised in the second half of the 19th century, became a much-favoured means of pre-empting sissiness – and of mass-producing virile imperialists. It was widely believed that putative empire-builders would be too exhausted by their exertions on the playing fields of Eton and Harrow to masturbate.</p>
<p>But masculinity, a dream of power, tends to get more elusive the more intensely it is pursued; and the dread of emasculation by opaque economic, political and social forces continued to deepen. It drove many fin de siècle writers as well as politicians in Europe and the US into hyper-masculine trances of racial nationalism – and, eventually, the calamity of the first world war. Nations and races as well as individuals were conceptualised as biological entities, which could be honed into unassailable organisms. Fear of “race suicide”, cults of physical education and daydreams of a “New Man” went global, along with strictures against masturbation, as the inflexible modern ideology of gender difference reached non-western societies.</p>
<p>European colonialists went on to impose laws that enshrined their virulent homophobia and promoted heterosexual conjugality and patrilineal orders. Their prejudices were also entrenched outside the west by the victims of what the Indian critic Ashis Nandy calls “internal colonialism”: those subjects of European empires who pleaded guilty to the accusation that they were effeminate, and who decided to man up in order to catch up with their white overlords.</p>
<p>This accounts for a startling and still little explored phenomenon: how men within all major religious communities – Buddhist, Hindu and Jewish as well as Christian and Islamic – started in the late 19th century to simultaneously bemoan their lost virility and urge the creation of hard, inviolable bodies, whether of individual men, the nation or the <em>umma</em>. These included early Zionists (Max Nordau, who dreamed of <em>Muskeljudentum</em>, “Jewry of Muscle”), Asian anti-imperialists (<a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/books/2016/feb/19/india-history-retold-forgotten-individuals" data-link-name="in body link">Swami Vivekananda</a>, Modi’s hero, who exhorted Hindus to build “biceps”, and Anagarika Dharmapala, who helped develop the muscular Buddhism being horribly flexed by Myanmar’s ethnic-cleansers these days) as well as fanatical imperialists such as Robert Baden-Powell, founder of the Scout movement.</p>
<p>The most lethal consequences of this mimic machismo unfolded in the first decades of the 20th century. “Never before and never afterwards”, as historian George Mosse, the pioneering historian of masculinity, wrote, “has masculinity been elevated to such heights as during fascism”. Mussolini, like Roosevelt, transformed himself from a sissy into a fire-breathing imperialist. “The weak must be hammered away,” declared Hitler, another physically ill-favoured fascist. Such wannabe members of the Aryan master race accordingly defined themselves against the cowardly Jew and discovered themselves as men of steel in acts of mass murder.</p>
<p>This hunt for manliness continues to contaminate politics and culture across the world in the 21st century. Rapid economic, social and technological change in our own time has plunged an exponentially larger number of uprooted and bewildered men into a doomed quest for masculine certainties. The scope for old-style imperialist aggrandisement and forging a master race may have diminished. But there are, in the age of neoliberal individualism, infinitely more unrealised claims to masculine identity in grotesquely unequal societies around the world. Myths of the self-made man have forced men everywhere into a relentless and often futile hunt for individual power and wealth, in which they imagine women and members of minorities as competitors. Many more men try to degrade and exclude women in their attempt to show some mastery that is supposed to inhere in their biological nature.</p>
<aside class="element element-pullquote element--inline"><span class="inline-garnett-quote inline-icon "> </span>Fear of femini​​sation​​ has driven demagogic movements like that unleashed by the locker room bully in the White House. Frustration and fear of feminisation have helped boost demagogic movements similar to the one unleashed by the locker room bully in the White House. Godse’s hyper-masculine cliches have vanquished the traditions of androgyny that Gandhi upheld – and not just in India. Young Pakistani men revere the playboy-turned-politician <a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/world/imran-khan" data-link-name="in body link">Imran Khan</a> as their alpha male redeemer; they turn viciously on critics of his indiscretions. Similarly embodying a triumphant masculinity in the eyes of his followers, the Turkish president<a class="u-underline in-body-link--immersive" href="https://www.theguardian.com/world/recep-tayyip-erdogan" data-link-name="in body link"> Recep Tayyip Erdoğan</a> can do no wrong. Rodrigo Duterte jokes, with brazen frequency, about rape.</aside>
<aside class="element element-pullquote element--inline">Misogyny now flourishes in the public sphere because, as in modernising Europe and America, many toilers daydream of a primordial past when real men were on top, and women knew their place. Loathing of “liberated” women who seem to be usurping male domains is evident not only on social media but also in brutal physical assaults. These are sanctioned by pseudo-traditional ideologies such as Hindu supremacism and Islamic fundamentalism that offer to many thwarted men in Asia and Africa a redeeming machismo: the gratifying replacement of neoliberalism’s bogus promise of equal opportunity with old-style patriarchy.Susan Faludi argues that many Americans used the 9/11 attacks to shrink the gains of feminism and push women back into passive roles. Peterson’s traditionalism is the latest of many attempts in the west in recent years to restore the authority of men, or to remasculinise society. These include the deployment of “shock-and-awe” violence, loathing of cucks, cultural Marxists and feminists, re-imagining a silver-spooned posturer like Bush as superman, and, finally, the political apotheosis of a serial groper.This recurrent search for security in coarse manhood confirms that the history of modern masculinity is the history of a fantasy. It describes the doomed quest for a stable and ordered world that entails nothing less than war on the irrepressible plurality of human existence – a war that is periodically renewed despite its devastating failures. An outlandish phobia of women and effeminacy may be hardwired into the long social, political and cultural dominance of men. It could be that their wounded sense of entitlement, or resentment over being denied their customary claim to power and privilege, will continue to make many men vulnerable to such vendors of faux masculinity as Trump and Modi. A compassionate analysis of their rage and despair, however, would conclude that men are as much imprisoned by man-made gender norms as women.</p>
<p>“One is not born, but rather becomes a woman” wrote Simone de Beauvoir. She might as well have said the same for men. “It is civilisation as a whole that produces such a creature.” And forces him into a ruinous pursuit of power. Compared with women, men are almost everywhere more exposed to alcoholism, drug addiction, serious accidents and cardiovascular disease; they have significantly lower life expectancies and are more likely to kill themselves. The first victims of the quest for a mythical male potency are arguably men themselves, whether in school playgrounds, offices, prisons or battlefields. This everyday experience of fear and trauma binds them to women in more ways than most men, trapped by myths of resolute manhood, tend to acknowledge.</p>
<p>Certainly, men would waste this latest crisis of masculinity if they deny or underplay the experience of vulnerability they share with women on a planet that is itself endangered. Masculine power will always remain maddeningly elusive, prone to periodic crises, breakdowns and panicky reassertions. It is an unfulfillable ideal, a hallucination of command and control, and an illusion of mastery, in a world where all that is solid melts into thin air, and where even the ostensibly powerful are haunted by the spectre of loss and displacement. As a straitjacket of onerous roles and impossible expectations, masculinity has become a source of great suffering – for men as much as women. To understand this is not only to grasp its global crisis today. It is also to sight one possibility of resolving the crisis: a release from the absurd but crippling fear that one has not been man enough <span class="bullet">•</span></p>
<p><span class="bullet">•</span> <em>Pankaj Mishra’s Age of Anger: A History of the Present </em><em>is published in paperback by Penguin. </em><em>To order a copy for £8.49 (RRP £9.99) go to <a class="u-underline in-body-link--immersive" href="https://www.guardianbookshop.com/age-of-anger.html?utm_source=editoriallink&amp;utm_medium=merch&amp;utm_campaign=article" data-link-name="in body link">guardianbookshop.com</a> or call 0330 333 6846. Free UK p&amp;p over £10, online orders only. Phone orders min p&amp;p of £1.99.</em></p>
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<div class="submeta">source: <a href="https://www.theguardian.com/books/2018/mar/17/the-crisis-in-modern-masculinity?CMP=share_btn_fb">The Guardian</a></div>
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<p>The post <a href="https://voidnetwork.gr/2018/03/27/crisis-modern-masculinity-pankaj-mishra/">The crisis in modern masculinity- by Pankaj Mishra</a> appeared first on <a href="https://voidnetwork.gr">Void Network</a>.</p>
]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>Η κουηρ λησμονια απέναντι στην μάτσο ενθύμιση – Για μια νέα αισθητική- του AMADEUS SACERPULLUS</title>
		<link>https://voidnetwork.gr/2017/03/16/%ce%b7-%ce%ba%ce%bf%cf%85%ce%b7%cf%81-%ce%bb%ce%b7%cf%83%ce%bc%ce%bf%ce%bd%ce%b9%ce%b1-%ce%b1%cf%80%ce%b5%ce%bd%ce%b1%ce%bd%cf%84%ce%b9-%cf%83%cf%84%ce%b7%ce%bd-%ce%bc%ce%b1%cf%84%cf%83/</link>
		
		<dc:creator><![CDATA[crystalzero72]]></dc:creator>
		<pubDate>Thu, 16 Mar 2017 15:23:04 +0000</pubDate>
				<category><![CDATA[Theory]]></category>
		<category><![CDATA[Gender]]></category>
		<category><![CDATA[gender politics]]></category>
		<category><![CDATA[Greece]]></category>
		<category><![CDATA[Queer]]></category>
		<category><![CDATA[Queer/Trans]]></category>
		<category><![CDATA[Αστικές Εξεγέρσεις]]></category>
		<category><![CDATA[Ηθική]]></category>
		<category><![CDATA[θεωρία]]></category>
		<category><![CDATA[Καθημερινή Ζωή]]></category>
		<guid isPermaLink="false">https://voidnetwork.gr/?p=14260</guid>

					<description><![CDATA[<p>Μεγάλωσα στην επαρχιακή ελλάδα των 90s, έφηβος την περίοδο του πολέμου στο Ιράκ, του πρώτου τηλεοπτικού πολέμου. Μια μέρα στα 15 μου ειχα ξαπλώσει, έτοιμος να κοιμηθω με το MTV ανοιχτό, όταν διακόπηκε για πρώτη φορά το μουσικό πρόγραμμα για την ανακοίνωση του θανάτου του Kurt Cobain, μια στιγμή θρησκευτικής σημασίας για τους γύρω μου, ίσως και μια γενιά. Ζούσαμε με το MTV για οξυγόνο, σανίδα σωτηρίας μέσα στην ελληνική επαρχία. Κάθε παιδάκι των 90s που θα ρωτήσεις θα σου εξηγήσει την προσωπική του [αλλά που δεν απέχει και τόσο πολύ η μια απ’ την αλλη] αφήγηση για το πως</p>
<p>The post <a href="https://voidnetwork.gr/2017/03/16/%ce%b7-%ce%ba%ce%bf%cf%85%ce%b7%cf%81-%ce%bb%ce%b7%cf%83%ce%bc%ce%bf%ce%bd%ce%b9%ce%b1-%ce%b1%cf%80%ce%b5%ce%bd%ce%b1%ce%bd%cf%84%ce%b9-%cf%83%cf%84%ce%b7%ce%bd-%ce%bc%ce%b1%cf%84%cf%83/">Η κουηρ λησμονια απέναντι στην μάτσο ενθύμιση – Για μια νέα αισθητική- του AMADEUS SACERPULLUS</a> appeared first on <a href="https://voidnetwork.gr">Void Network</a>.</p>
]]></description>
										<content:encoded><![CDATA[<div class="_2cuy _3dgx _2vxa">Μεγάλωσα στην επαρχιακή ελλάδα των 90s, έφηβος την περίοδο του πολέμου στο Ιράκ, του πρώτου τηλεοπτικού πολέμου. Μια μέρα στα 15 μου ειχα ξαπλώσει, έτοιμος να κοιμηθω με το MTV ανοιχτό, όταν διακόπηκε για πρώτη φορά το μουσικό πρόγραμμα για την ανακοίνωση του θανάτου του Kurt Cobain, μια στιγμή θρησκευτικής σημασίας για τους γύρω μου, ίσως και μια γενιά. Ζούσαμε με το MTV για οξυγόνο, σανίδα σωτηρίας μέσα στην ελληνική επαρχία. Κάθε παιδάκι των 90s που θα ρωτήσεις θα σου εξηγήσει την προσωπική του [αλλά που δεν απέχει και τόσο πολύ η μια απ’ την αλλη] αφήγηση για το πως είχε στο μυαλό του ένα database στο οποίο διαχώριζε με αρκετά ξεκάθαρες γραμμές την «καλή» από την «κακή» μουσική. Αυτή η συνθήκη διαχωρισμού που σήμερα ακούγεται αδιανόητα αφελής αποτελούσε όχι μόνο συνηθισμένη αφήγηση των εφήβων, αλλά [ακόμα χειρότερα] και των μεγάλων ξαδερφων τους [μας] που γράφαν τις κασσέτες με συλλογές, οι οποίοι με τη σειρά τους τα διάβαζαν σε περιοδικά. Μια evil αλυσίδα επιρροής για τον διαχωρισμό του καλού από το κακό. Με βάση τις διαφορές μεταξύ μουσικών προτιμήσεων βλέπουμε στα 90s ενδεχομένως και την τελευταία φάση διαχωρισμών των νέων σε clans: δε γίνεται να ανήκεις και στο ένα και στο άλλο. Και ενώ κάποια από αυτά είναι ως ένα σημείο κατανοητά ως προεφηβικές στρατηγικές που πάντα συναντούνταν σε υποκουλτούρες [πχ αν είσαι πάνκης δεν ακούς μέταλ κι ας έχουν αισθητικές επαφές κλπ], η ιδέα της καλής και της κακής μουσικής είναι ένας τελείως χωρίς ιδιαίτερο νόημα διαχωρισμός της δεκαετίας, μια προσπάθεια του 90s ελληνικού μουσικό/τεχνό/σινεφιλου κοινού να κοιτάξει πίσω στις προηγούμενες δεκαετίες και σε έναν πολιτισμό που δεν ήταν κατα βάση δικός του.</div>
<div class="_2cuy _3dgx _2vxa">Έχει ενδιαφέρον πως ένα απο τα τερμς που άκουγε κανείς τότε ήταν το «δε μοιαζει/ακούγεται σαν ελληνικό» ως απόδειξη ποιότητας. Κάτι τέτοιο ενδεχομένως θα διασκεδάσει τους ανθέλληνες σήμερα και ναι η αλήθεια είναι πως όσα προβλήματα και να δει κανείς στη δεκαετία του 90 σίγουρα οι συζητήσεις δε φτάναν ποτέ σε τόσο ανατριχιαστικά εθνικιστικά σημεία όπως στα ποστ-2010 [με πιθανή εξαίρεση το μακεδονικό]. Σίγουρα υπάρχει μια ενδιαφέρουσα ανθελληνική χροιά στο να πιστεύεις πως αν κάτι δεν είναι ελληνικό θα είναι καλύτερο, όμως στη βάση το ζήτημα του καλού και κακού ήταν μια ξεκάθαρη προσπάθεια να δημιουργηθούν συνειδήσεις υψηλής και χαμηλής κουλτούρας. Κι αυτό δεν ήταν κάτι μόνο στη μουσική, αλλά σε όλη την καλλιτεχνική παραγωγή. Τα αστεράκια ποιότητας κινηματογραφικών ταινιών στο Αθηνόραμα είναι κάτι που θυμάμαι από την παιδική μου ηλικία &#8211; ο αχρείος κριτικός του αθηνοράματος ποτέ δεν έβαζε 5 αστέρια σε τίποτα που δεν ήταν τουλαχιστον 40 χρόνια παλιό. [ελιτισμ 101 &amp; νοσταλγία μπλιαχ]</div>
<div class="_2cuy _3dgx _2vxa">Έτσι δημιουργείται κάπου εκεί η κουλτούρα του ‘εναλλακτικού’ τύπου, ενός ανθρώπου που στέκεται απέναντι/ενάντια στην ελληνικότητα, η οποία δεν τον ενδιαφέρει ή η αισθητική της οποιας ακόμα και τον προσβάλει. Μια στη βάση της αγορίστικη κουλτούρα, μέσα στην οποία σαφώς μπήκα, αλλά από την οποία ευτυχως θεε μου με έναν τρόπο βγήκα κάπως όταν έφυγα από την ελλάδα για την αγγλία για σπουδες.</div>
<div class="_2cuy _3dgx _2vxa">Ο 90s εναλλακτικός τύπος έχει σίγουρα κάποια καλά, η κριτική στην ελληνικότητα που ανέφερα παραπάνω δεν είναι αμελητέα [αν και δεν είναι και πάντα γενικότερη πολιτική κριτική], όπως και η σημασία που φαίνεται να βάζει στη δημιουργια και τέχνη σε μια γενικά φιλισταία ελληνική κοινωνία είναι χρήσιμη σαν αντιπαράθεση στην καταπίεση της μαζικής τηλεόρασης κλπ. Όμως στη βάση του ο εναλλακτικός είναι ένας μοντερνιστής που πιστεύει σε υψηλη και χαμηλή κουλτούρα με όλες τις προβληματικές που αυτό κουβαλάει. Μεγάλωσα λοιπον και εγω και όλες οι συνομήλικες φιλινάδες μου με την παραίσθηση πως τα 80s ήταν κάτι μικρής δημιουργικής σημασίας, κάτι επιφανειακό, χωρίς ιδιαίτερο περιεχόμενο. Η βασική κριτική στα 80s από τα 90s γίνεται με τη χρήση ενός όρου που συνεχίζει να χρησιμοποιεί προβληματικά η εξυπναδίστικη ελληνική κοινωνία της ‘ποιοτικής τέχνης’, το kitsch [το trash σαν όρος έρχεται λίγο αργότερα, το camp δεν το παρακολουθει η ελληνικη κοινωνία καθόλου]. ‘Τα 80s δεν μας ενδιαφέρουν’ δηλώναν τα 90s διοτι παραήταν κιτς, εννοώντας ‘επιφανειακά, χωρίς ουσιαστική αξία’. Μου πήρε πολλά χρόνια να καταλάβω πως τα 80s τουλάχιστον ως τα μέσα της δεκαετίας αποτελούν στην πραγματικότητα την τελευταία προέκταση του αβαν-γκαρντ πρότζεκτ των 60s. Αλλά πέρα από αυτο, τί ήταν αυτό που ενοχλούσε τα σοβαρά αγόρια των 90s στα 80s? Τα 90s, το απόλυτο success story ευρωπαικής ευημερίας, βρίσκουν τους δημιουργούς να παράγουν όχι αμειγώς πολιτικά έργα, αλλά κείμενα με υπαρξιακό βάρος ενώ το κοινό από τη μεριά του έχει την [ψευδ]αίσθηση πως μπορεί να κρίνει την υπόλοιπη ιστορία από κάποιου είδους ψηλό βαθρο. Το υπαρξιακό βάθρο των 90s όμως εθελοτυφλούσε [στην καλύτερη] για το ποι@ έχει την άνεση να είναι υπαρξιστής, από ταξικής και έμφυλης άποψης. Αυτή η στροφή σε έναν υποτιθέμενα αντικειμενικό ανθρωπιστικό υπαρξισμό έχει ως αποτέλεσμα να τυποποιηθεί εξαιρετικά η αισθητική και να φτάσουμε τελικά στη μετριοκρατία που λέγεται U2, Πυξ Λαξ, ελληνικό σινεμά των 90s κλπ. Οι performative ευκαιρίες που ανοίγονται στα 60s (bowie klp) και φτάνουν στο ζενίθ τους με τη μόδα των 80s [androgynous cyborgs] κατατροπώνονται στα 90s, μια νέα σοβαρότητα επικρατεί, μια νέα dress/act-down συνθήκη [στην ελλάδα και σε συνδυασμό με την έλλειψη riot grrrl κινήσεων] καταλήγει τελικά στο να επωφελείται μια ετεροκανονικοαγοριστικότητα.</div>
<div class="_2cuy _3dgx _2vxa">Μέσα σ αυτό, εγώ και κάποι@ αλλ@ που δε χωρούσαμε ακριβως στις κατηγορίες μάθαμε να ζούμε ανάμεσα στις χαραμάδες, κάποιες φορές με δυο πόδια σε δυο μέρη ως λίγο προδότες, κάποιες φορές πηγαίνοντας πιο πολύ από τη μια μεριά απ’ ό,τι την άλλη, αφήνοντας τις υβριδικές δυνατότητες και πτυχές του εαυτού μας να κοιμούνται μέχρι μια άλλη στιγμή.</div>
<div class="_2cuy _3dgx _2vxa">Η άλλη στιγμή αυτή έρχεται στα 00s όπου εμφανίζεται η ιδέα του [retro]kitsch ως ενός είδους guilty pleasure. Κάτι σαν ακαδημαϊκό τερτίπι στην αρχή, οι εραστές του κιτς θεωρούν πως μπορούν να μπαίνουν και να βγαίνουν μέσα απ’ αυτό όπως και όποτε θέλουν, να το κοιτάνε από πάνω και να το «θαυμάζουν γι αυτό που είναι», φλερτάροντας δηλαδή με έναν τρόπο με το ποπ, το «κακό», μόνο όμως μέσα από μια ασφαλή δικλίδα του μοντερνιστικού πρότζεκτ της υψηλής τέχνης. Άτομα σαν αυτά μπορεί κανείς να θυμηθεί διάφορα: είναι άτομα που οργανώναν τσακωνειάδες, αλλά στο σπίτι προτιμούσαν τους Led Zeppelin και τον Τζιμ Τζάρμους. Κάποιοι απ αυτούς απαντούνται σήμερα γύρω από την ελληνική stand-up comedy σκηνή. Φυσικά η πρώτη αυτή ρετροκιτς φάση των early-00s ενέχει όχι μόνο ταξικά ζητήματα, αλλά είναι υπεύθυνη και για μερικά απερίγραπτα ανόητα υποκείμενα. Παρ’ όλ’ αυτά στρατηγικά ήταν μια σημαντική στιγμή αφού για πρώτη φορά βρέθηκαν τόσο απομακρυσμένες αισθητικές στους ίδιους χώρους.</div>
<div class="_2cuy _3dgx _2vxa">Αρκετά πιο ενδιαφέρουσα είναι η συνέχεια στα late-00s/10s όταν με τις νέες συνθήκες επικοινωνίας και την κίνηση της πληροφορίας μέσω youtube κλπ, οι σκληρές ταυτότητες αρχίζουν να φθίνουν τελείως, τα ipad αντικαθιστούν τα walkman/diskman (από την ίδια την τεχνολογία λοιπόν υπάρχει υβριδική συνθήκη) και μέσα τους μπορείς να βρεις όλων των ειδών τις συνυπάρξεις. Η ποπ έχει ήδη πλησιάσει την ‘υψηλή κουλτούρα’ (η Bjork είναι η πρώτη ποπ καλλιτέχνις στην ιστορία που θα παίξει στο Royal Opera House), το βορειοευρωπαϊκό avant-garde έχει ήδη αγκαλιάσει την ποπ (ο Jerry Springer γίνεται όπερα) και κάπως σαν να φαίνεται πως οι μοντερνιστικοί διαχωρισμοί του Adorno καταρρέουν χωρίς επιστροφή. Οι συμπράξεις αυτές αργούν στην Ελλάδα που είναι περισσότερο συντηρητική, θα πάρει καμια δεκαριά χρόνια μετα το Jerry Springer the opera στο Σάκη Ρουβά να εμφανιστεί στην Επίδαυρο, αλλά το μικρόβιο των υβριδικών ταυτοτήτων μπαίνει σιγα-σιγα στα μυαλά των τεχνομουσικόφιλων. Έτσι αρχίζουν και πέφτουν οι πόλοι καλού και κακού και δε χρησιμοποιούνται τόσο ως αναφορά, ενώ άλλα polarities όπως το βαρετό-μη βαρετό [καταστασιακοι-συναντουν-add-generation] αρχίζουν να παίρνουν μεγαλύτερη σημασία. Η κατανάλωση του ποπ/τρας και της υψηλής τέχνης, βέβαια, δεν παύει να έχει ταξικό χαρακτήρα με κάποια υποκείμενα να έχουν πρόσβαση σαφώς σε κάποια πράγματα πολύ πιο έυκολα απ’ ό,τι σε άλλα, όμως τουλάχιστον οι όροι έχουν αλλάξει.</div>
<div class="_2cuy _3dgx _2vxa">Σ’ αυτό το σημείο θα αναφερθώ στους έλληνες κουηρς πηγαίνοντας λίγο πίσω χρονικά. Η ιστορία του ελληνικού κουηρ είναι μικρή, αν και η ιδέα ενός εναλλακτικού lgbt κινήματος έσκαγε σε διάφορες φάσεις από δω κι απο κει, ένα κίνημα κοντινό άλλοτε σε φεμινιστικές κινήσεις, άλλοτε με αντιεξουσιαστές, αλλά ακόμα πιο συχνό μέσα από αναγνώσματα περιοδικής φύσης. Το ελληνικό κουήρ όπως εννοείται σαν σκηνή κάπως σήμερα ξεκινάει κάπου στα μέσα των 00s, με διάφορες μικροομάδες να σχηματίζονται δειλά, συχνά κοντινές σε αναρχικούς χώρους. Η ελληνική αναρχία βρίσκεται στην αισθητική όχι πολύ μακρυά από το μοντέλο του εναλλακτικού που περιέγραψα παραπάνω, όμως στην πιο πανκ κάπως μορφή του, πραγμα που ίσως σώζει κάπως τα πράγματα λογω του diy ethos, αλλα και με τις υπόλοιπες προβληματικές του πανκ (μάτσο κλπ). Η ιδέα του ποστ-πανκ ως κίνηση/ύφος δεν υπήρξε ποτέ στην ελλάδα, ένας χώρος δηλαδεί που να διέπεται από την επαναστατική δύναμη του πανκ, αλλά να έχει χώρο για γυναίκες και κουήρς και μη επικρατούσες ταυτότητες, να θεωρεί την δημιουργία ευκαιρία για νέες πειραματικές γλώσσες κλπ. Το ελληνικό αναρχοπάνκ είναι κοντινότερο σε γενικές γραμμές στο αμερικάνικο hardcore, με άλλα λόγια είναι λίγο καγκουρέ. Μέσα σ’ αυτή τη συνθήκη, οι κουηρς αρχικά ασφυκτιούν κάπως αισθητικά και φέρνουν αρκετά επιθετικά την ποπ στην πιο μέηνστρημ μορφή της ως υστερικό όπλο απέναντι στις νηφάλιες [?] αρενωπότητες. Μέσα στις καταλήψεις, στα κουηρ πάρτυ παίζεται η ποπ ως camp κριτική στο άγριο αντρικο performativity της αναρχίας. Σιγά σιγά εμφανίζονται και αναρχοποπ υβρίδια, όπως ο Alex C, που γίνεται σε γενικές γραμμές αποδεκτός από τους αναρχικούς συντρόφους, αν όχι με αισθητικά κριτήρια, τότε λόγω της κινηματικής του παρουσίας.</div>
<div class="_2cuy _3dgx _2vxa">Ενώ όμως το appropriation της ποπ έχει έναν αντι-μάτσο κριτικό χαρακτήρα μέσα στις καταλήψεις, έξω, στο σκληρό μέηνστρημ ερχεται μια ρετρο-μανια απο πολυ κακες μεριες, από τα ίδια τα εναλλακτικά υποκείμενα που αναφέρθηκα παραπάνω, μια επανοικοιοποίηση των 80s (και 90s εως ενα σημείο), με αναγωγή χαρακτήρων οπως ο Τσακωνας σε “Bill Murray της ελλαδας” και άλλα τέτοια ωραία. Παρατηρείται εδώ μια ενδιαφερουσα στροφη των ελλήνων στο κομματι του πως πλησιάζουμε ένα ρετρο παρελθόν. Από κει που έχουμε συνηθίσει ως στάνταρ κριτική των 80s από τους κάγκουρες ως ‘αδερφίστικα’, τώρα ακούμε το αναπάντεχο “80s ρε! μονο τοτε γραφονταν ωραια κομματια, να ‘ουμε”. Αυτό που έχει συμβεί είναι πως οι 25αρηδες ματσο των 90s εχουν γινει 45αρηδες μπαρμπάδες που θυμούνται το παρελθόν. Κάπου εκεί η ελληνική κοινωνία ξεπερνάει τον εαυτό της διότι στο πλαίσιο μιας μανίας με το παρελθόν [κατα τη γνώμη μου εθνικιστικής στη βάση της] βάζει ακόμα και τη ματσίλα της σε δεύτερη θέση. Η ελληνική σχέση με το χετερο-camp ήταν ανέκαθεν περίπλοκη. Τα λικνίσματα στο σκυλάδικο, άλλωστε, στα μάτια ενός εξωτερικού παρατηρητή αποτελούν μια αρκετά camp επιτέλεση, ο alpha-ανδρισμός της οποίας κρέμεται διαρκώς από μια λεπτότατη κλωστή που εξισορροπεί ανελέητες αντιφάσεις [όπως και ο ορισμός της ελληνικότητας γενικότερα]. Όμως ενώ το οθωμανικό camp είναι μια επιτρεπτή συνθήκη για τον ελληναρα, το ευρωπαϊκό ήταν πάντα κατακριτέο. Στα mid/late-00s η θύμιση των 80ς ως κάτι μαλθακό αλλάζει ή τουλάχιστον φθίνει για να επικρατήσει κάτι άλλο. Με λίγα λόγια, Boy George vs PASOK σημειώσατε 2.</div>
<div class="_2cuy _3dgx _2vxa">Η ρετρομανία του εναλλακτοκάγκουρα που ποστάρει τα «20 καλύτερα παιχνίδια» των 80s στο youtube και που αποφασίζει να πάει σε ένα πάρτυ ασχέτως περιεχομένου διότι το πόστερ είχε την Ροζίτα Σώκου (real story) δεν είναι τίποτ’ άλλο από μια κρυπτο [ή φανερο]εθνικιστική νοσταλγία για μια εποχή ευημερίας στη χώρα. Τα παιχνίδια των 80s που άνθρωποι της ίδιας ηλικίας θυμούνται είναι μια ενοτική εθνική αφήγηση για τις χρυσές πασοκικές μέρες που η ελλάδα “ζούσε καλά” οτιδήποτε αυτό σημαίνει [με λιγότερη επιρροή της Ευρωπαϊκής Ένωσης, λιγότερους μετανάστες κλπ], και – ultimately – ώντας περίσσότερο Ελλάδα. Για τον έλληνα κουηρ και ally τα πράγματα στενεύουν κάπως με τη σκύλλα του σοβαρού σκυθρωπου μοντερνιστικού εναλλακτικού από τη μια και τη χάρυβδη του αναγεννημένου ρετρολαϊκιστή από την άλλη. Σε μια τέτοια παγίδα θεωρώ πως πέφτει το τελευταίο αυτοκόλλητο των AntifaNegative, μιας από τις λίγες ενδιαφέρουσες συλλογικότητες του ευρύτερου αυτόνομου χώρου. <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fantifa-ngt.espivblogs.net%2Ffiles%2F2012%2F12%2Fstickers-may-2015-1.jpg&amp;h=ATMAsXcINJ4A-uZng05-FyCifqIT9IoCxeVwyjUN6Kdd12uyPRgVbrUWKTPmV4nXiHeR5BS7C5f2uUVppTlwCi7e_YQ42CFVxEps-GxfmY7Q9H9GGKeT-yMzDqX65lsqtlHFvCM&amp;s=1" target="_blank" rel="nofollow noopener">https://antifa-ngt.espivblogs.net/f&#8230;</a></div>
<div class="_2cuy _3dgx _2vxa">Το αυτοκόλλητο που επανοικειοποιείται τίτλο 80s ελληνικής trash ταινίας, αν και έχει πιστεύω ως στόχο του να κάνει ένα αντιμάτσο χιούμορ, πράγμα που ήδη είναι περισσότερο απ ́ότι συνήθως συναντάει κανεις στην αθηναϊκή αναρχία, με κάνει να σκέφτομαι: μπορει πραγματικά να γίνει ντερουρναμεντ σ’ αυτο το σλογκαν? Και αν ναι, τότε πως? Για να δουλέψει η καταστασιακή στρατηγική, τότε πρεπει να χρησιμοποιηθεί ένα κείμενο στο οποιο να πηγαινει κοντρα η καινούρια εκδοχή, δηλαδη κάτι το οποιο λερώνεται/τσαλακώνεται από την επέμβαση. Στην περιπτωση αυτή, όμως, το σλόγκαν απλα παίρνει προαγωγη απο ενός ειδους χουλιγκανισμό (αυτό των 80s λυκείων) σε εναν αλλο (αυτό της αναρχίας του 2015). [Θα μπορούσα να σημειώσω εδώ πως έτσι κι αλλιώς εχω σοβαρες ενστασεις για το πως το ντετουρναμεντ μπορει να δουλεψει στον κοσμο του φεησμπουκ, όπου πρωτοείδα το σλόγκαν αλλά ας μην το ανοίξω και αυτό, είναι θέμα για άλλη συζήτηση.] Στην εικόνα λοιπον δεν υπαρχει αρκετη αποσταση μεταξύ των δυο συνθηκών χουλιγκανισμού, δεν έχουμε δυο πράγματα που έρχονται σε διαλεκτική πάλη. Μήπως προκειται για υπερταυτιση, τον ορισμό που θέτει ο Ζίζεκ για projects όπως οι Laibach, όπου τα όρια μεταξύ ιδεολογικής ταύτισης και ειρωνείας είναι επίτηδες δυσδιάκριτα? Ο τροπος ομως με τον οποιο αισθητικά έχει στηθεί το αυτοκόλλητο δεν ειναι σαν να ταυτίζεται με το πραγματικο trash, αντιθέτως εχει μια μετα-banksy-ian αναρχο-design τοποθέτηση αρκετά μοντέρνα, λες και βγαλμενη απο τις καταληψεις της Βερνης και της Ζυρίχης. Το οπτικο λογοπαιγνιο με την τσάντα και τη ρόδα κλεινει το ματι σε ενα ελαφρο queer art of failure [αφού παίρνει σχεδόν σεφερλικές διαστάσεις], αλλα το αποτελεσμα και πάλι ειναι μια μεταμονετρνα σαλατα που παιζει επικυνδυνα με αναφορές και αναρωτιέμαι τελικα μήπως αυτό το αυτοκόλλητο στους δρόμους στηριζει άθελα του τη ρετροκαγκούρικη αφηγηση.</div>
<div class="_2cuy _3dgx _2vxa">Και σκέφτομαι εδώ τί να είναι αυτό που να κάνει μια ομάδα τόσο διαυγή στο κομμάτι της κριτικης της εθνικής ταυτότητας όπως οι αντιφα να αναπαράγει μια αισθητική αναφορά κοινή με όλους τους εναλλακτικούς πατριδολάτρεις, χωρίς ούτε καν να δημιουργεί μια αρκετά καλιαρντη βερσιον της [που και πάλι δεν είμαι σίγουρος πως θα αρκούσε, προσωπικά θεωρώ το 80s trash καμένο χαρτι πολιτικά για κάποιον καιρο]?</div>
<div class="_2cuy _3dgx _2vxa">Νομίζω πως η ανάγκη για αμεσότητα και μια ελαφρώς ντεμπορική [κατά τη γνώμη μου όχι καίρια για την ελληνική κοινωνία] κριτική στην τέχνη ως κάτι αποκομένο από την μαζική κουλτούρα έχουν φέρει μια κάποια ισοπέδωση που μπορεί να οδηγήσει σε προβληματικές στρατηγικές. Γιατί να αποτελεί η ενθύμιση και η αναφορά σε κάτι άλλο τον τρόπο ενδυνάμωσής μας? Όπως ξέρουμε η ιστορία γράφεται πάντα από τους δυνατούς, επομένως η ενθύμιση της ποπ κουλτούρας θα είναι αναπάντεχα καταπιεστική. Ίσως απέναντι στη αφήγηση της ενθύμισης να παρατάξουμε το queer forgetting, όπως το θέτει @ halberstam στο “Queer Art of Failure”. Για κάθε αγορίστικη ανάμνηση εμείς παρατάσσουμε μια κούηρ λησμονιά.</div>
<div class="_2cuy _3dgx _2vxa">Είναι σημαντικό να θέσουμε σ’ αυτό το σημείο πως μια καίρια διαφορά των κουηρς από τον υπόλοιπο αναρχοαυτόνομο χώρο ειναι πως δίπλα στο κοινά αποδεκτό ρέτρο, οι κουηρς έχουν αγάπη και για το contemporary pop. Αυτο ισως θα μπορούσε να τίθεται ως μια τοποθέτηση ακριβώς αντίθετη με την παραπάνω [το παρόν ενάντια στο παρελθόν], αφου το ποπ αποτελεί μια συνδεση με μια διεθνη κοινοτητα απο την οποια το κουηρ παιρνει γραμμη [drag race κλπ], μια σύνδεση που εν δυνάμει μπορεί να επιφέρει και όμορφα ανθελληνικά αποτελέσματα παγκοσμιοποίησης. Όμως και παλι εδώ υπαρχει μια μελαγχολική απόσταση παρά την ταυτοχρονία, έχουμε την απόσταση μεταξύ του δέκτη και του παραλήπτη, απόσταση που ειναι απαραίτητη για το καπιταλιστικο κομματι της ποπ να δουλεψει. Το ελληνικό κουηρ περναει στη φαση της επανοικοιοποίησης και μιμησης ενος κυριαρχου μεταμοντέρνου προτάγματος. Αφηνει [καλώς] πίσω του το φαντασμα της “υψηλης κουλτούρας” και ταυτιζεται με [κάποιες φορες και αναλυει] την ποπ. Πως ομως ξερουμε πως το κουηρ δεν εξομοιώνεται σε μια ετερο/ομο αισθητική κανονικότητα?</div>
<div class="_2cuy _3dgx _2vxa">Για την ελληνικη πραγματικοτητα, μια ουσιαστικη επιρροη του drag race θα μπορουσε να ειναι φοβερα μετασχηματιστική. Όμως στην πράξη αυτα που στο λονδινο θα ήταν underground punk drag shows, στο παρισι voguing competitions της μαύρης κουηρ κοινότητας και σε άλλα μέρη στον κόσμο διαφόρων ειδών underground συνθηκες, στην αθηνα αποτελουν θεματα συζητησης [μας έφαγε ο λογοκεντρισμός!], μαζώξεις σε μεσοαστικά σπίτια “για να δουμε Ru Paul στον προτζέκτορα” και ποστ σε ιντερνετικά θεωρητικά αναγνώσματα (Καμμένα Σουτιέν κλπ). Κι έτσι όχι μόνο δεν υπάρχει ουσιαστική συνδιαμόρφωση της αισθητικής [μεσω fan cultures κλπ], αλλά χάνεται και ένας πολύ ενδιαφέρον πιθανός διάλογος, ένα αθηναϊκό queer art of failure, ένα drag non-glamorous, αντιφατικό, κακοφτιαγμένο, τραυματισμένο από την κοινωνία στην οποία απευθύνεται. <a href="https://www.facebook.com/notes/amadeus-sacerpullus/%CE%B7-%CE%BA%CE%BF%CF%85%CE%B7%CF%81-%CE%BB%CE%B7%CF%83%CE%BC%CE%BF%CE%BD%CE%B9%CE%B1-%CE%B1%CF%80%CE%B5%CC%81%CE%BD%CE%B1%CE%BD%CF%84%CE%B9-%CF%83%CF%84%CE%B7%CE%BD-%CE%BC%CE%B1%CC%81%CF%84%CF%83%CE%BF-%CE%B5%CE%BD%CE%B8%CF%85%CC%81%CE%BC%CE%B9%CF%83%CE%B7-%CE%B3%CE%B9%CE%B1-%CE%BC%CE%B9%CE%B1-%CE%BD%CE%B5%CC%81%CE%B1-%CE%B1%CE%B9%CF%83%CE%B8%CE%B7%CF%84%CE%B9%CE%BA%CE%B7%CC%81/10157412709195434">Η εικόνα που ανέβασα στο ποστ</a> είναι από την <a href="https://fytini.bandcamp.com/">ομάδα Τριτοτέταρτες</a>, μια ομάδα που κατα τη γνώμη μου κατακερματίζει τα στεγανά του drag culture και συνθλίβει σε πολλαπλά επίπεδα την ελληνικότητα. Μέσα από το πρότζεκτ των Τριτοτέταρτες, η ιστορικότητα του drag, στοιχεία κουηρ ουτοπίας και κριτικές ματιές στον ελληνικό βούρκο δημιουργούν ένα υπερ-αντι-θέαμα [ίσως] muñozικων διαστάσεων.</div>
<div class="_2cuy _3dgx _2vxa">Με την πρόσφατη απογαλάκτιση του ελληνικού κουηρ από τους αναρχικούς χώρους και μετά από μια χρονιά με μερικές από τις πιο καίριες ρήξεις στο mainstream lgbt κίνημα, το κουήρ καλείται να δημιουργήσει τις δικές του αφηγήσεις. Είναι όμως ένα κεφάλι χωρίς σώμα [όργανα χωρίς σώμα?]: έχει σκεφτεί πολύ τί είναι αυτά που θέλει, χωρίς όμως να τα κάνει, έχει οριοθετήσει το τί το στενοχωρεί χωρίς όμως να κάνει φόκους σε τί το καυλώνει, έχει μιλήσει πολύ, αλλά έχει χορέψει, τραγουδήσει και γαμηθεί λίγο.</div>
<div class="_2cuy _3dgx _2vxa">Πιστευω πως εχουμε φτασει στο σημειο που οφειλουμε να εφευρουμε συνθετικες δημιουργικες γλωσσες, να κουηρεψουμε τις φορμες της επικοινωνιας μας. Η ιδεα του ‘ποιοτικου’ και του ‘υψηλου’ μας φαίνεται γελοία, αλλα και το ποπ δε μας φτανει κάπως, παραειναι μακρυα απο τα σωματα μας, σώματα που δε χωράνε όλα στις μέηνστρημ γραμμές έτσι κι αλλιώς και δε γουστάρουν άλλο να απολογούνται. Έχουμε ηδη αποξενωθεί απο την σκληρή αναρχοκαταστασιακή γραμμή, γιατι έχουμε σχεση αγάπης-κ-μίσους με το θέαμα [yes, we enjoy our symptoms] και δεν πιστεύουμε και πολυ στη δυνατότητα του ντετουρναμεντ. Το ελληνικό παρόν σαπίλα και το παρελθόν ρετρο αναμνηση ακομα πιο αηδια. Κι ομως εμεις θελουμε να μιλησουμε για τα σωματα μας και για τις (γ)καβλες μας και να φτιάξουμε και να συνβρεθούμε σε εικόνες και σε ήχους και σε λέξεις. Και πως θα το κάνουμε αυτο? Καπως οπως χτιζουμε την επιθυμία μας: μέσα και έξω από το μεηνστρημ, χρησιμοποιώντας μερικά, πετώντας άλλα, κλέβοντας ιδέες από κάποια, καταστρέφοντας αλλα, γελώντας με καποια, μη παίρνοντας υπ’ οψη μας αλλα, τραυματισμένες απο καποια, αγαπώντας άλλα και κοιτώντας παντα μεσα μας, η καθε μια ξεχωριστα στην εαυτή της για την προσωπικη της αφηγηση που δεν ειναι ακριβώς ποτε ιδια με καποια άλλη. Φερνοντας κοντά τις εσωτερικες μας αντιφασεις μπορουμε να φτιαξουμε τις δικες μας κουηρ αισθητικές, να γίνουμε οι ίδιες ένα κολλάζ, άλλωστε το κολλάζ είναι κατά τ@ Halberstam το απόλυτο queer μέσο: butch sopranos, bdsm teletubbies, σερραίοι περφορμανς αρτιστς, barwoman ναυπηγές, χοντρές τσελίστριες, ζηλιάρες πολυάμορυ ποιήτριες, παραδοσιακές μαγείρισσες με ποδιες σόνικ γιουθ, σεξομανή πτηνά, χεβιμέταλ crossdressers, kinky συλλέκτες γραμματοσήμων, ανώμαλοι και ανώμαλες κάθε είδους με τις περίεργες αντιφατικές ιστορίες τους. Κάποιοι θα μας πουν μεταμοντέρνους στο πέρασμά τους, πως είμαστε ένα mish-mash επιρροών και ίσως μας πουν και χίπστερς, ομως αυτές είμαστε και αυτές τις συνδυαστικές αναγκες έχουμε. Και γνωρίζοντας πως φέρνουμε στο τραπέζι όλες μας τις εσωτερικές αντιφάσεις, ελπίζουμε πως θα αποτελέσουμε ένα επικοινωνιακο αβαν-γκαρντ. Όχι αβαν απ’ την προβληματικη μοντερνιστική σκοπιά του υψηλού και εκλεπιτσμένου, αλλά απ την πολεμική σκοπιά αυτής που δοκιμάζει να εκτεθει. Γιατί με το να εκθέτουμε τους δικούς μας ταυτοτικούς συνδυασμούς, γράφονται και ανοίγουν διαφορετικες ιστορίες και βιώματα που μπορουν να μας πανε καπου αλλου, καπου που δε βρεθηκαμε πιο πριν. Και μπορούμε να φέρουμε τις ιστορίες μας κοντά να κάνουν και παρέα – όσο γίνεται.</div>
<div class="_2cuy _3dgx _2vxa"></div>
<div class="_2cuy _3dgx _2vxa">κείμενο: AMADEUS SACERPULLUS</div>
<div class="_2cuy _3dgx _2vxa">πηγή: <a href="https://www.facebook.com/notes/amadeus-sacerpullus&lt;/div&gt;
&lt;p&gt;">https://www.facebook.com/notes/amadeus-sacerpullus/%CE%B7-%CE%BA%CE%BF%CF%85%CE%B7%CF%81-%CE%BB%CE%B7%CF%83%CE%BC%CE%BF%CE%BD%CE%B9%CE%B1-%CE%B1%CF%80%CE%B5%CC%81%CE%BD%CE%B1%CE%BD%CF%84%CE%B9-%CF%83%CF%84%CE%B7%CE%BD-%CE%BC%CE%B1%CC%81%CF%84%CF%83%CE%BF-%CE%B5%CE%BD%CE%B8%CF%85%CC%81%CE%BC%CE%B9%CF%83%CE%B7-%CE%B3%CE%B9%CE%B1-%CE%BC%CE%B9%CE%B1-%CE%BD%CE%B5%CC%81%CE%B1-%CE%B1%CE%B9%CF%83%CE%B8%CE%B7%CF%84%CE%B9%CE%BA%CE%B7%CC%81/10157412709195434</a></div>
<p>The post <a href="https://voidnetwork.gr/2017/03/16/%ce%b7-%ce%ba%ce%bf%cf%85%ce%b7%cf%81-%ce%bb%ce%b7%cf%83%ce%bc%ce%bf%ce%bd%ce%b9%ce%b1-%ce%b1%cf%80%ce%b5%ce%bd%ce%b1%ce%bd%cf%84%ce%b9-%cf%83%cf%84%ce%b7%ce%bd-%ce%bc%ce%b1%cf%84%cf%83/">Η κουηρ λησμονια απέναντι στην μάτσο ενθύμιση – Για μια νέα αισθητική- του AMADEUS SACERPULLUS</a> appeared first on <a href="https://voidnetwork.gr">Void Network</a>.</p>
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		<title>QUEER IN ATHENS FESTIVAL Fr.11-2-2011&#038; Sat. 12-2-2011 Nosotros Free Social Space Themistokleous 66 Exarchia</title>
		<link>https://voidnetwork.gr/2011/02/07/queer-in-athens-festival-fr-11-2-2011-sat-12-2-2011-nosotros-free-social-space-themistokleous-66-exarchia/</link>
					<comments>https://voidnetwork.gr/2011/02/07/queer-in-athens-festival-fr-11-2-2011-sat-12-2-2011-nosotros-free-social-space-themistokleous-66-exarchia/#respond</comments>
		
		<dc:creator><![CDATA[voidweb]]></dc:creator>
		<pubDate>Mon, 07 Feb 2011 11:54:00 +0000</pubDate>
				<category><![CDATA[Void Network News]]></category>
		<category><![CDATA[festivals]]></category>
		<category><![CDATA[Gender]]></category>
		<category><![CDATA[Queer]]></category>
		<guid isPermaLink="false">https://voidnetwork.gr/2011/02/07/queer-in-athens-festival-fr-11-2-2011-sat-12-2-2011-nosotros-free-social-space-themistokleous-66-exarchia/</guid>

					<description><![CDATA[<p>The post <a href="https://voidnetwork.gr/2011/02/07/queer-in-athens-festival-fr-11-2-2011-sat-12-2-2011-nosotros-free-social-space-themistokleous-66-exarchia/">QUEER IN ATHENS FESTIVAL Fr.11-2-2011&#038; Sat. 12-2-2011 Nosotros Free Social Space Themistokleous 66 Exarchia</a> appeared first on <a href="https://voidnetwork.gr">Void Network</a>.</p>
]]></description>
										<content:encoded><![CDATA[<div style="clear: both; text-align: center;"><a href="https://voidnetwork.gr/wp-content/uploads/2011/02/queerflyerfront-1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img fetchpriority="high" decoding="async" border="0" height="400" src="https://voidnetwork.gr/wp-content/uploads/2011/02/queerflyerfront.jpg" width="328" /></a></div>
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<p>The post <a href="https://voidnetwork.gr/2011/02/07/queer-in-athens-festival-fr-11-2-2011-sat-12-2-2011-nosotros-free-social-space-themistokleous-66-exarchia/">QUEER IN ATHENS FESTIVAL Fr.11-2-2011&#038; Sat. 12-2-2011 Nosotros Free Social Space Themistokleous 66 Exarchia</a> appeared first on <a href="https://voidnetwork.gr">Void Network</a>.</p>
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