UNDERGROUND RESISTANCE
Autonomous Ecstatic Rave Zone
Psy Trance Audiovisual Experience

SAT. 17/1/2026
starts at 23.00 ends at 09.00

23.00- 24.00 AIX
24.00- 01.00 CHAOTIC MOON
01.00- 02.00 DORITO
02.00- 03.30 MARTIAN ARTS (Stereo Society)
03.30- 04.30 djane ISIS
04.30- 05.30 CRYSTAL ZERO
05.30- 06.30 TEO (Disco Valley Records)
06.30- 07.30 PSYMPOSION
07.30- end WAR

Visual Art by
Global Eye / London Void Network

ARCH Club Live Stage
Petrou Ralli 29 & Kritis 1,
TAVROS AREA / ATHENS

FREE ENTRANCE– suggested DONATION

Organized by
VOID NETWORK
celebrating 35 years in space

Τα χρόνια που μας έτυχε να ζούμε μας έκαναν πολύ πιο σκληρούς από ότι θα μπορούσαμε ποτέ να φανταστούμε. Και για αυτό όλα σαπίζουν μέσα μας. Η κοινωνία προσπαθεί με απελπισμένες, σπασμωδικές κινήσεις να διαχειριστεί το άγχος και τον ανταγωνισμό. Στην αναζήτηση εργασίας, στον διαρκή αγώνα για τη πληρωμή των λογαριασμών, του ενοικίου, των βιοτικών αναγκών. Στις φιλίες που ξεχνιούνται μέσα στην ιδιώτευση και στις ερωτικές σχέσεις που διαλύονται καθώς χρησιμοποιούμε ο ένας το σώμα του άλλου για εκτόνωση και αυτοεπιβεβαίωση.

Γι’ αυτό η Εξέγερση της Φροντίδας είναι απαραίτητη, ένας τόπος για να ζούμε και να υπάρχουμε όπου ο άνθρωπος δεν είναι μηχανή παραγωγής κέρδους αλλά μέρος μιας ζωντανής κοινότητας ισότητας, ελευθερίας και αλληλοβοήθειας. Η αδυναμία, η παιδικότητα και ο έρωτας, η φθορά, η ασθένεια, η γήρανση και ο θάνατος, κάθε μορφή ευαλωτότητας δεν είναι ντροπή, αλλά κοινός τόπος συνάντησης. Η δύναμη δεν είναι κυριαρχία, αλλά ευθύνη και ικανότητα να προστατεύεις, να περιθάλπεις, να φροντίζεις, να ενδυναμώνεις, να βελτιώνεις, να δημιουργείς για χάρη όλων.

Η απελευθέρωση των καταπιεσμένων θα έρθει από τις σχέσεις που θα αναπτυχθούν ανάμεσα σε αυτούς που θα μοιράζονται μια ευτυχία χωρίς χρήματα & τον έρωτα που ζουν μεταξύ τους οι εξεγερμένοι.

ΚΕΝΟ ΔΙΚΤΥΟ
http://voidnetwork.gr

The post Underground Resistance- FREE Rave Zone SAT 17/1/2026 Athens appeared first on Void Network.

FR. 20/12/2024
starts 23.00

Free Self Organized
THEATRE EMBROS
Riga Palamidi 2,
Psiri area / ATHENS

Techno Stage

Emex
Olga b2b Nadja
Mister M.
Nikos Thanos
Whodoes
WΔR

Psy Trance Stage

Sishiva
Crystal Zero
Greg Staikos
Iraklis Mindphaser
Sotokkan
El Mahico
Vertigo

Visuals:
Global Eye (London Void Network)
Void Optical Art Laboratories

Παραβιαστικές, σεξιστικές ή βίαιες συμπεριφορές δεν θα γίνουν ανεκτές. Εάν αντιμετωπίσετε προσωπικά ή πέσει στην αντίληψη σας κάποιο πρόβλημα παρακαλούμε μιλήστε με τα άτομα της συλλογικότητας μας στο μπαρ της εκδήλωσης.

ΚΕΝΟ ΔΙΚΤΥΟ
http://voidnetwork.gr

Ζούμε τα χειρότερα χρόνια της ζωής μας. Δουλεύουμε από το πρωί μέχρι το βράδυ σε ηλίθιες καταπιεστικές δουλειές για να πληρώνουμε πανάκριβα νοίκια και λογαριασμούς, δηλητηριασμένες τροφές και φθηνά ρούχα φασόν από κακοπληρωμένους εργάτες στην Κίνα. Ο πόλεμος απλώνεται παντού, από την Παλαιστίνη μέχρι τα Εξάρχεια όλος ο κόσμος είναι ένα πεδίο μάχης, οι ανθρώπινες κοινότητες στενάζουν κάτω από την απειλή των όπλων των κατακτητών, των επενδυτών, των καθαρμάτων. Τα σαββατόβραδα η πόλη, μας προσφέρει βλακώδεις, εμπορικές διασκεδάσεις ελεγχόμενες από τους μαφιόζους και την αστυνομία. Οτιδήποτε σε αυτή τη ζωή αρνείται τους όρους του εμπορεύματος καταστέλλεται & απαγορεύεται. Κατοικούμε φυλακισμένοι στο χειρότερο κράτος του κόσμου.

Εξαντλημένοι και απογοητευμένοι, διαδίδουμε σύγχυση , ηττοπάθεια, εγωισμό και ιδιώτευση σαν δηλητήριο ο ένας στον άλλον. Όσα όνειρα και αν κάνεις μόνος σου, μόνο με μια συλλογική έκρηξη μπορούμε να τα κάνουμε πραγματικότητα. Aυτό απαιτεί μια εσωτερική εξέγερση, έναν εναγκαλισμό με το αδιανόητο και μια τελευταία συνάντηση των γνωστών- αγνώστων. Το μόνο που φοβούνται οι κυβερνήτες είναι το πνεύμα του Δεκέμβρη του 2008, όλους εμάς τους χιλιάδες που τότε περπατήσαμε μες τις φωτιές και τις κρατάμε τόσα χρόνια κρυμμένες μέσα μας να σιγοκαίνε τα σωθικά μας. Φυσικά τρέμουν το κύμα που σχηματίζουμε όλοι εμείς οι απελπισμένοι, οι νέοι χωρίς μέλλον, οι μετανάστες χωρίς σύνορα, οι φτωχοί χωρίς φόβο, οι κοινωνικά αποκλεισμένοι, οι άνθρωποι μιας εποχής χωρίς ελπίδα.

Η απελευθέρωση των καταπιεσμένων θα έρθει από την βάση της κοινωνίας και τις σχέσεις που θα αναπτυχθούν ανάμεσα σε αυτούς που θα μοιράζονται μια ευτυχία χωρίς χρήματα και τον έρωτα που ζουν μεταξύ τους οι εξεγερμένοι.

ΚΕΝΟ ΔΙΚΤΥΟ
http://voidnetwork.gr

The post Underground Resistance – 2 stages Rave- FR 20/12 Theatre Embros- Athens appeared first on Void Network.

To understand the K Foundation, it’s necessary to acquire some historical knowledge. For those not in the know, Drummond and Cauty have been active in the music business for many years. Drummond moved from playing guitar with the Liverpool punk band Big In Japan, to setting up the independent Zoo Records, then on into management and A&R work for major labels. Among many other crimes against humanity, he is responsible for inflicting The Teardrop Explodes and Echo and the Bunnymen upon an unsuspecting public. Cauty is chiefly a musician. The first fruit of their collaboration was the single All You Need Is Love, released in March 1987. Drummond and Cauty promoted this attack on the media’s coverage of AIDS with a graffiti campaign in which the slogan Shag Shag Shag was daubed over advertising hoardings.

Having made a mark as avant-hip satirists, the JAMS or Justified Ancients of Mu Mu (as the duo dubbed themselves at the time), consolidated their cult following with the release of an album entitled 1987 – What The Fuck’s Going On? The platter received rave reviews in the music press, although the record was soon suppressed by lawyers acting for ABBA who objected to the heavy sampling of their hit single Dancing Queen. Drummond and Cauty milked the legal proceedings for press coverage, then released a new version of the LP with all samples removed and detailed instructions on how to recreate the original sound.

Further records followed under a bewildering variety of names, including Disco 2000 and the KLF. The duo had their first number 1 in 1988 with Doctorin’ The Tardis which was credited to The Timelords. It was at this point that Drummond and Cauty began earning the money that currently finances the K Foundation. Stunt was followed by stunt and these pranks acted as adverts for a series of hit records. In April 1992, Drummond and Cauty dumped a dead sheep on the steps of the hotel where the Brit Awards ceremony was being held and then went on to be named Best British Group. The following month, the KLF placed a full page advert on the back of the NME announcing that they would not be releasing any new material in the foreseeable future and that their entire back catalogue was deleted.

A year later, the existence of the K Foundation was revealed in the first of a series of one page press advertisements. Having established an identity for the K Foundation, the campaign went into higher gear with the advice that ‘TIME IS RUNNING IN… SWITCH TO K TIME NOW‘. Then came an advert for a record that wasn’t available. All three of these ads invited the public to send an SAE to a post office box for further information. To date, none of the people I know who wrote to this address have received a reply. Possibly the organisation has been swamped with requests for information because ads have appeared in the NME, Guardian, Independent On Sunday and Sunday Times.

The campaign took a new turn with the fourth ad in the series, which consisted of the slogan ‘ABANDON ALL ART NOW‘ in letters nearly three inches high. After this came the announcement of the K Foundation Award, a forty thousand pound prize to be given to the artist who’d produced the worst body of work in the previous twelve months. The four nominees were identical to those chosen for the prestigious Turner Prize, which awards a mere twenty thousand pounds to its winner. The next ad in the campaign carried the headline ‘LET THE PEOPLE CHOOSE’ and a voting form, so that the public could have its say on who was the worst artist in the world.

Needless to say, Rachel Whiteread won both the Turner Prize and the K Foundation Award. Earlier in the year, Whiteread had obtained permission from Tower Hamlets council in East London to erect a temporary ‘sculpture’, in the form of a life-size concrete cast of a terraced house. It was the media coverage Whiteread’s supporters drummed up against the looming demolition of this eye-sore that brought her to widespread public attention. If, as is sometimes asserted by cultural reactionaries, the task of the artist is to give representation to the unconscious, Whiteread has succeeded admirably in her chosen vocation. Houses are traditionally considered a symbol of the unconscious, by filling a terraced house with concrete and then removing the brickwork shell, Whiteread showed herself to be intellectually, creatively and emotionally blocked — something that is evident in all her ‘work’.

In the promotional verbiage that surrounded this ‘work’, rather prosaically entitled ‘HOUSE’, Whiteread talked about the ‘sculpture’ being typical of the Victorian domestic architecture found all over London. Her desire to ‘universalise’ the meaning of this particular terrace, resulted in the original building being stripped of it’s history and the deep political implications of that history. One of the major sponsors of Whiteread’s activities was Tarmac, who were daily throwing people out of their homes so that big business could bulldoze unwanted motorways through Britain. Whiteread had nothing to say about the politics of housing until it was suggested that the money wasted on her ‘sculpture’ could have been better spent building homes, at which point she shamelessly began claiming that ‘HOUSE’ was somehow a protest against homelessness!

In the Times on 23rd November 1993, Richard Cork was given half a page to berate ‘Britain’s perennially begrudging attitude to the avant-garde’ on Turner Prize day. Among other things, Cork defended Rachel Whiteread’s reactionary work HOUSE as ‘an austere yet melancholy monument’. Neither Whiteread nor Picasso, who Cork also ‘defends’ in his piece, are actually members of the avant-garde. As Peter Burger points out in his book THEORY OF THE AVANT-GARDE, avant-gardism entails a critique of the institution of art — whereas Whiteread and Picasso enjoy an unproblematic relationship with the art world.

After Drummond and Cauty announced they’d burn forty thousand pounds worth of low denomination bank notes if Whiteread refused to accept them as prize money, this ‘artist’ took the K Foundation’s cash ‘under protest’, claiming she was forced to do so to avoid the dosh being wasted. Whiteread either has a very low estimation of the public’s intelligence or else she is just plain thick. Money is only a symbolic representation of wealth; burning it doesn’t alter the sum total of resources in the world. Indeed, millions of bank notes are burnt every year because they have become worn through use. Drummond spent a good part of Turner Prize day talking to Whiteread on the ‘phone and he concluded from these conversations that ‘she isn’t very bright’.

Drummond and Cauty dealt explicitly with the symbolic nature of money in a series of ‘works’ they created to compliment the K Foundation Award. The Melody Maker of 4th November 1993 reported that they’d produced a series of ‘art works’ which consisted of money nailed to pieces of wood, and that these were to be sold for half the value of the cash they contained. The following press statement was also quoted: ‘Over the years the face value will be eroded by inflation. While the artistic value (due to the works’ position in the amended History of Art) will rise and rise. The precise point at which the artistic value will overtake the face value is unknown. De-construct the work now and you double your money. Hang it on a wall and watch the face value erode, the market value fluctuate, and the artistic value soar. The choice is yours.’

In November 1993, the avant-garde wasn’t to be seen at the Turner Prize gathering, it was to be found among that select band of individuals who’d organised the K Foundation’s attack on the smug complacency of the arts establishment. Thanks to the adverts Bill Drummond and Jimmy Cauty placed around the WITHOUT WALLS tv coverage of the Turner Prize ceremony, ‘dignitaries’ such as Lord Polumbo were revealed as buffoons. While Polumbo ranted about the dunces who attack cultural innovations, his rhetoric showed him to be a complete idiot — several people immediately pointed out that he was unable to correctly name Van Goth’s art dealer brother. Likewise, Polumbo claimed that there are no monuments erected to critics and presented himself as a champion of progressive culture, while ignoring the fact that it was critics who picked the winner of the prize he was awarding.

It is the K Foundation, rather than Whiteread, who represent a vital and innovative strand within contemporary culture. Their work is simultaneously a critique and a celebration of ‘consumer capitalism’. Above all, what’s enjoyable is the gusto with which they attack the self-righteous bureaucrats who pretend to be the guardians of our culture. From the beginning, what struck me about their campaign was the way in which it drew on the same underground and avant-garde sources that had inspired many of the KLF’s finest moments. While Drummond and Cauty have moved away from the pop industry, there is a deep sense of continuity between their earlier music based work and the recent multi-media campaign.

One of the few influences on the KLF that music journalists have been able to pin down is that of Robert Anton Wilson and Robert Shea’s Illuminatus novels. The historical material on which these books are based is part of a millenarial current that runs through western culture from the very beginning of the Christian era to the present day. These tendencies are given a more secular veneer in both communist and fascist doctrines. On the left, they are expressed in terms of ‘the end of history’. The Nazi obsession with establishing ‘a thousand year Reich’, is a different formulation of very similar concerns. Likewise, the K Foundation’s infatuation with time and its transformation is rooted in the same soil, although the branch to which Drummond and Cauty belong is that of mystical anarchism.

Springing from the same source, but to date not fully recognised as an influence on the KLF and K Foundation, is the twentieth-century tradition of avant-gardism. Movements such as the Futurists, Dadaists, Surrealists and Situationists are well known for the pranks they pulled on the cultural establishment. F. T. Marinetti paid for his First Futurist Manifesto to appear as an advertisement in Le Figaro of 20 February 1909. In this text, Marinetti spoke of his desire to ‘destroy the museums, libraries and academies of every kind’. In other words, like the K Foundation campaign, Marinetti’s Futurist advert was an attack on institutionalised art.

Drummond and Cauty have been described on numerous occasions as Situationists, but to label them as such is rather misleading. Situationism is simply one of many movements that make up the twentieth-century avant-garde tradition. The K Foundation are undoubtedly an outgrowth of this tradition but their work is not explicitly Situationist. Indeed, it has much more in common with the Neoist, Plagiarist and Art Strike movements of the nineteen-eighties than with the avant-garde of the fifties and sixties.

Obviously, the KLF (Kopyright Liberation Front) shared an interest in plagiarism with the eighties avant-garde. Over the past decade, columnists in avant-garde magazines such as Photo Static and Vital have spent a great deal of time ranting about why xerox machines and sampling technology make all existing copyright laws redundant. Likewise, during the eighties, a series of Festivals of Plagiarism were held in Europe and North America so that those concerned with these issues could meet and promote their cause. Drummond and Cauty drew on the heated discussion taking place everywhere from unofficial galleries to small circulation magazines and transformed it into something capable of setting the pop charts alight.

Another concern of the eighties avant-garde was with the use of multiple names as a means of raising questions about the nature of identity. By 1986, fifty different avant-garde magazine editors were calling their publications Smile, which of course caused a great deal of confusion. Even more people were using the name Karen Eliot — so that countless pictures, articles and songs, were produced by an artist who didn’t actually exist! In a similar fashion, Drummond and Cauty’s use of a variety of names for their musical projects made the listener question traditional notions of authorship.

From 1985 onwards, propaganda began circulating amongst the avant-garde for an Art Strike, during which cultural workers would stop producing and selling any product. Drummond and Cauty’s 1992 decision not to release any more records echoes these demands and provides another example of how they’ve taken ideas developed on ‘the margins’ of contemporary culture and used them to great effect within the pop ‘mainstream’.

Returning to the K Foundation adverts, we can see that they make perfect sense when viewed in the light of the avant-garde tradition that runs from Futurism at the beginning of this century through to groups such as the Neoists and the London Psychogeographical Association in the eighties and nineties. The ultimate meaning of the K Foundation’s slogan ‘ABANDON ALL ART NOW’ is remarkably similar to that of ‘DEMOLISH SERIOUS CULTURE’, a formulation much used by the Art Strikers. As I’ve already said, the avant-garde has always been concerned with criticising institutionalised art.

As one would expect, much of the press reacted with utter incomprehension to the K Foundation’s brilliantly conceived campaign. Charles Nevin, writing in the Independent On Sunday, described the advertisements as ‘screamingly obscure’. Susannah Herbert and Victoria Combe, reporting for the Daily Telegraph, spoke of the K Foundation being ‘incapable of reckoning the year correctly‘. Robert Sandall, in the Sunday Times, suggested that the campaign ‘served no obvious purpose other than to fritter away about £70,000’.

Several articles have stressed the fact that Drummond and Cauty have no recorded product available. This is not actually true, since much of the KLF output is readily available as American, German and Japanese imports. Likewise, the supposedly suppressed 1987 LP can be obtained easily enough in its original form as a bootleg. However, even if there was actually no product available at the retail end of the trade, the ads could still generate income for Drummond and Cauty because publishing remains the most lucrative area of the music business for major acts. Apart from anything else, the K Foundation campaign has exposed the pundits who’ve suggested the ads are economically unviable as being completely ignorant of how the entertainment industry operates and what constitutes effective advertising.

Meanwhile, a Guardian article by-lined to John Ezard, called the K Foundation Award a ‘hoax’. This description is utterly misconceived. From a financial perspective, the K Foundation Award is considerably more substantial than the Turner Prize. Rather than questioning the validity of Drummond and Cauty’s activities, anyone with a modicum of intelligence will see the intervention as a means of deflating the value of prizes awarded by bureaucratic institutions for what a bunch of suits imagine to be individual creative excellence! The K Foundation campaign functions on numerous levels but the so called quality press appears incapable of comprehending this.

And so, Drummond and Cauty are succeeding in another of their stated aims, which is to ‘divide and kreate’. The pundits who found the K Foundation campaign ‘confusing’ clearly belong among the ranks of reactionaries. Those who see the campaign as a remarkable manifestation of the contemporary avant-garde, will no doubt join the growing band of individuals who wish to build a new culture, so that they can live in a world of ever-growing ecstasy. As for future K Foundation plans, Drummond and Cauty are keeping them under wraps. When I ran into Drummond a couple of months ago, he simply told me, ‘I do what I have to do’. Something will come up and we’ll know soon enough that the K Foundation are involved in fanning the flames of creative liberation.

_____________________________

An amalgamation of an article for G-Spot and material from a lecture at Trinity College, Cambridge, this mix of the material was first published in Rapid Eye #3. edited by Simon Dwyer (Creation Press, London 1995).

Stewart Home

The post Pop Stars, Sonic Weapons, Chaos: KLF attack against culture appeared first on Void Network.

INDIE FREE FESTIVAL  #29

SAT. 22/6/2019   

ΠΑΡΚΟ ΠΕΔΙΟΝ ΑΡΕΩΣ

STARTS at 18.00

ΤΟ ΦΕΣΤΙΒΑΛ ΑΦΙΕΡΩΝΕΤΑΙ ΣΤΗΝ ΣΤΗΡΙΞΗ ΤΟΥ ΑΓΩΝΑ ΕΝΑΝΤΙΑ ΣΤΙΣ ΕΞΟΡΥΞΕΙΣ ΥΔΡΟΓΟΝΑΝΘΡΑΚΩΝ
ΙΝFO- Ενημέρωση:
Ήπειρος- Δυτική Ελλάδα https://www.facebook.com/antioilioannina/ – https://savepirus.gr/ –  https://savegreekseas.com/
Αθήνα https://ath-stop-mining.blogspot.com/ Κεφαλονιά-Ιθάκη: https://www.facebook.com/noilkef
Πρέβεζα https://www.facebook.com/groups Βόλος https://www.facebook.com/epitropiAgonaVolou
Festival is dedicated in support of the struggle against drilling of oil and ecological destruction of Greece

LIVE CONCERT STAGE 

BAZOOKA
DURY DAVA
Ψ
PARADOX OBSCUR
ΑΡΝΑΚΙΑ
LOW GRAVITY
TASOS SAGRIS+WHODOES
ARIANNA K
HEAD ON
KOOBA TERCU
NERRVES
THREE WAY PLANE
OVER 9000

TECHNO STAGE

GEORGE APERGIS
VOLTNOI
LIEM
NICK DE NICE
VENUS MELENA
NUEΛ
PABU
WAR

PSY TRANCE STAGE

CACTUS ARISING
RADICAL FREQUENCIES
BLACK NOISE-OOBLEK
MARTIAN ARTS
IRAKLIS MINDPHASER
CRYSTAL ZERO
JUNIOR X
MIKE AKIDA
EL MAHICO
MAGIC SHAMAN

dance & fire show by BADDRA (TK)

Από το 1990 έως σήμερα το INDIE FREE FESTIVAL αποτελεί κάθε καλοκαίρι την μεγάλη συνάντηση όσων συνεχίζουν να αντιστέκονται στην κοινωνική απάθεια και την μαζική αποβλάκωση. Στέκεται στον αντίποδα μιας κοινωνίας που καταρρέει στον φασισμό και την υποταγή, την γελοιότητα, την εθελοδουλία και τον κυνισμό. Με την ετήσια συμμετοχή πάνω από 150 καλλιτεχνών και χιλιάδων φίλων, το φεστιβάλ είναι μια μεγάλη γιορτή της ελευθερίας, μια δημόσια έκφραση αξιοπρέπειας, αμφισβήτησης και χειραφέτησης. Οι καλλιτέχνες που εμφανίζονται αφιλοκερδώς παίρνουν το πιο ζεστό χειροκρότημα όχι από πελάτες-θεατές αλλά από συντρόφους και φίλους. Με αυτό τον τρόπο σχηματίζουν μια underground σκηνή που στηρίζει εδώ και δεκαετίες τους κοινωνικούς αγώνες παράγοντας μια νέα ευαισθησία, νέους τρόπους να ζούμε μαζί, να νιώθουμε ο ένας τον άλλον και να κατανοούμε την Ζωή. Μια τέχνη επαναστατική, απελευθερωτική, χωρίς μπίζνες και φράγκα, χωρίς αυτολογοκρισία και περιορισμούς, χωρίς επιχειρηματίες, αυλές και αυλοκόλακες. Η δικιά μας ΕΠΑΝΑΣΤΑΣΗ είναι ένα κάλεσμα για ΖΩΗ, ΕΡΩΤΑ, ΙΣΟΤΗΤΑ & ΕΛΕΥΘΕΡΙΑ. Για εμάς η Ελευθερία είναι ριζωμένη στον Έρωτα, την βασική ανθρώπινη ροπή προς την απόλαυση, την ευτυχία, την χαρά. Γνωρίζουμε πως κανένας μας δεν μπορεί να είναι ευτυχισμένος αν όλοι οι άλλοι γύρω του είναι δυστυχισμένοι. Ο Έρωτας μας ωθεί να φροντίσουμε ο ένας τον άλλον, να μοιραστούμε την χαρά, να ζήσουμε ενωμένοι τους καρπούς των αγώνων μας- την κοινωνική ισότητα και την δικαιοσύνη. Οι κυρίαρχες δυνάμεις της αγοράς και της συντήρησης καθώς οδηγούν τον πλανήτη στην καταστροφή επιβάλλουν μια ζωή ανταγωνισμού, εκμετάλλευσης, μοναξιάς και δυστυχίας. Σκοπός κάθε δράσης του Κενού Δικτύου είναι η ενδυνάμωση των κοινωνικών αντιστάσεων, η απελευθερωτική πράξη της δημιουργίας, της συνεργασίας, της αμοιβαιότητας, ο Έρωτας, η Κοινότητα, η Εξεγερμένη Χαρά.

ΟΠΟΙΟΣ ΚΑΙ ΑΝ ΚΥΒΕΡΝΑ ΕΙΜΑΣΤΕ ΑΚΥΒΕΡΝΗΤΟΙ.
ΒΡΕΣ ΕΝΑΝ ΤΡΟΠΟ ΝΑ ΣΥΝΑΝΤΗΘΟΥΜΕ!

Κενό Δίκτυο [Θεωρία, Ουτοπία, Συναίσθηση, Εφήμερες Τέχνες] https://voidnetwork.gr

Since 1990 every summer, INDIE FREE FESTIVAL is the great meeting of those who continue to resist social apathy and mass stupification. It stands at the opposite of a society that collapses in fascism and subordination, ridiculing, voluptuousness and cynicism. With the annual participation of over 150 artists and thousands of friends, the festival is a great celebration of freedom, a public expression of dignity, resistance, and emancipation. All the artists who appear voluntary in this non-profit and non-payments fest they receive the warmest applause not by viewers-customers but by comrades and friends. In this way they form an underground scene that has been supporting social struggles for decades, producing new sensibilities, and new ways to live together, to feel each other and to understand Life. We share a revolutionary liberating art, free of business and money, without self-censorship and limitations, without entrepreneurs, courtyards, and boot-lickers. Our Revolution is a call for LIFE, EROS, EQUALITY & FREEDOM. For us, Freedom is rooted in EROS, the basic human torment towards enjoyment, happiness, joy. We know that no one can be happy if all the others around him are suffering. Love drives us to care for each other, to share the joy, to live united and enjoy together the fruits of our struggles – social equality and justice. The forces of domination, the powers of market and conservatism, as they lead the planet to destruction impose us a life of competition, exploitation, loneliness, and misery. The goal of any action of Void Network is to strengthen social resistance, the liberating act of creation, cooperation, reciprocity, Eros, Community, Revolted Joy.

NO MATTER WHOEVER GOVERNS- WE ARE UNGOVERNABLE

FIND A WAY TO MEET EACH OTHER

Void Network [Theory, Utopia, Empathy, Ephemeral Arts] https://voidnetwork.gr

______________________________

Το Κενό Δίκτυο ευχαριστεί θερμά όλους τους καλλιτέχνες που συμμετείχαν στο φετινό Indie Free Festival για την αγάπη και τη στήριξή τους απέναντι στο φεστιβάλ, όπως επίσης κα τους 5000 φίλους και φίλες που παρεβρέθηκαν. Είκοσι εννιά (29) χρόνια μετά την διοργάνωση του πρώτου Indie Free, όλοι μαζί – ο κόσμος, οι καλλιτέχνες και οι διοργανωτές- συνεχίζουμε να δείχνουμε πως είναι απολύτως εφικτό ένα αντιεμπορευματικό μουσικό φεστιβάλ που προωθεί τις ιδέες της ελευθερίας, της ισότητας και του δώρου, στο κέντρο της ερήμου που εξαπλώνεται παντού. Εκεί που το πραγματικά υψηλό επίπεδο της καλλιτεχνικής παραγωγής ενεργοποιεί την επιθυμία να συναντηθούμε έξω από την εγχρήματη συναλλαγή του κέρδους, απελευθερώνουμε τον εαυτό μας αλλά και το χώρο από τα νοήματα της κυριαρχίας. Έτσι καταλαβαίνουμε γιατί όλοι μας νιώθουμε την ανάγκη να δημιουργούμε και να συμμετέχουμε σε καταστάσεις που διέπονται από αυτή τη λογική: σε αυτές καταφέρνουμε να βιώνουμε συλλογικά στο παρόν την πραγματικότητα ενός αντι-ηγεμονικού κόσμου. ΚΕΝΟ ΔΙΚΤΥΟ https://voidnetwork.gr

photos by Vasilis Christidis

photos George Nikolaidis:

The post INDIE FREE FESTIVAL#29- Sat. 22/6 ΠΕΔΙΟΝ ΑΡΕΩΣ 3 stages: LIVE-Techno-Psy Trance appeared first on Void Network.

benefit RAVE – techno sound system

friday 19 april 2019

NOMIKH- ATHENS LOW SCHOOL Solonos 57

starts 23.00

GEORGE APERGIS | ARIS | BREZNIEF | WAR |
JUNIOR X | PABU | SANITER | THEREMIN |

Benefit event for Anarchist Federation and the trial costs of comrades.

Organized by Anarchist Federation – Athens area

supported by Void Network https://voidnetwork.gr

The post RAVE techno sound system / NOMIKH Athens- FR. 19/4/2019 Anarchist Federation + Void Network appeared first on Void Network.

Ain’t no party like a decentralised party

In one sense, the rave scene has always been encrypted. In its heyday, when news of illicit parties spread by word of mouth, you just needed to know the right people. But new technologies are adding another layer to this.

Throughout the last year, rumours of a crypto-enabled rave revival have been rife on the dark net and in closely guarded members-only forums, with some referring to these gatherings more publicly as crypto-raves, trustless raves or the “decentralised autonomous rave scene”. This underground phenomenon has been driven by creative tech, in the form of the blockchain. Technologist and artist Mat Dryhurst has seen this first hand. “Like most good things, it emerged slowly and organically,” he says. “The first time I went to a crypto rave, I got a text message from a friend who was given a few invites, received my own unique keys and was given an invite of my own to share.”

The keys he’s referring to can take different forms: PGP-signed messages stored on public blockchains; or decentralised tokens distributed by DAOs (decentralised autonomous organisations), with each token representing a single ticket, in line with the recent explosion of ICOs and the tokenisation of everything that has come to the world of cryptocurrencies.

“One needs a number of ‘block confirmations’ to have passed to ensure access,” explains Amnesia Scanner, a Berlin-based collective of designers and musicians who have been anonymously contracted to play at some of these decentralised autonomous raves. “Once you’re in, you’ll often be given access to a decentralised application that uses a hybrid of proof-of-stake and proof-of-work, that secures the scene,” they say. Instead of peer-to-peer, it’s friend-to-friend.

“We know of gatherings broadcast on insecure networks such as Facebook being targeted by the police, or worse still, right-wing factions who are intent on doxing and harassing partygoers,” Dryhurst says.

These events have undoubtedly been inspired by a growing worldwide interest in cryptography and digital privacy, but they have their roots in the concept of the “temporary autonomous zone”, a term that was coined in an influential 1991 book of the same title by anarchist and arch-hermetist Hakim Bey, and which would go on to influence events such as Burning Man.

Because of their autonomous nature, there’s no single type of music or scene represented at these events, although so far it’s mostly been dance music such as techno and jungle. “The common element is an emphasis on privacy and community that I think augments whatever music is being presented,” Dryhurst says.

The blockchain isn’t the only technology that is being experimented with at these events. Electronic duo Amnesia Scanner has witnessed AR and VR apps that employ hypnotic techniques to induce altered states that drug the user. The pair say that there are rumours about a German decentralised autonomous rave scene where participants ingest sleep medication and force themselves to stay awake.

The scene is growing in places such as the San Francisco Bay Area, Moscow and Berlin, but its greatest potential could be outside big cities, at the periphery of electronic music culture. The technology in use here could also unlock possibilities in music and wider culture more generally. “The magic of blockchains and smart contracts for me is the ability to encode ideology into the things that you create,” says Dryhurst. “This could be groundbreaking for music as a medium. Rather than being limited to implying ideology through stylistic gestures and poetry, we are now able to execute ideology.”

Establishing automated systems of trust through the blockchain could support an explosion in ad-hoc gatherings – not just raves, but theatre, live-action role-playing games, parties and protest movements, all equipped to evade oppression and stagnation.

source: http://www.wired.co.uk/article/rave-culture-on-the-blockchain

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KENO ΔΙΚΤΥΟ / VOID NETWORK

voidinternational@gmail.com

more info and timelines to be announced soon

The post VOID NETWORK: 25 YEARS IN SPACE | 1990-2015 / 3 days for all underground cultures / THUR.22- FR.23- SAT. 24.1.2015 / Occupied Theatre Embros appeared first on Void Network.

01.30 – 02.15 CLOSER [indie]

PSYCHEDELIC TRANCE STAGE

The post INDIE FREE FESTIVAL #24 | SAT. 27/9/2014 | ΠΕΔΙΟΝ ΑΡΕΩΣ | ΑΤΗENS CENTRAL PARK appeared first on Void Network.

KENO ΔΙΚΤΥΟ 
VOID NETWORK 
 http://voidnetwork.blogspot.com

UNDERGROUND 
RESISTANCE
ELECTRO
ACID
PSYCHEDELIC
TRANCE
EXPERIENCE

SATURDAY 21 JUNE 2014
starts 22.30
ΠΡΟΠΥΛΑΙΑ ΠΑΝΕΠΙΣΤΗΜΙΟΥ
στάση Μετρό Πανεπιστήμιο
PANEPISTIMIOU / ATHENS CITY CENTER

CRYSTAL ZERO
IRAKLIS MINDPHASER
TEO
CACTUS ARISING
NIKITAS
JUNIOR X
SISSY STARDUST
HIGHPNO

visual art & light show by
VOID OPTICAL ART LABORATORY

more info and exact timetable here soon
http://voidnetwork.blogspot.com

για την υπεράσπιση της Ελευθερίας 
της Έκφρασης στον Δημόσιο Χώρο

in defence of Freedom of Expression
in the Public Space

The post UNDERGROUND RESISTANCE Electro Acid Psychedelic Trance // SAT. 21.06.2014 // ΠΡΟΠΥΛΑΙΑ ΠΑΝΕΠΙΣΤΗΜΙΟΥ // ΑΤHENS CITY CENTER appeared first on Void Network.

A History of Collective Joy.
By Barbara Ehrenreich.
320 pp. Metropolitan Books/
Henry Holt & Company. $26.

“Take me out with the crowd,” goes the old baseball song. “I love this crowd,” repeats the classic stand-up comic. Every lecturer knows: the larger the group, the more they become an event for themselves, heightening the attention, the laughs or the emotions. At our national political conventions, people wear silly hats and bob up and down to music so stupid it is a parody of music, in order to “demonstrate” a political feeling. Participating in a demonstrative crowd gives joy, as being a mere spectator cannot. Even in a culture where recorded performance has become central, people crave the live event, largely for that group joy.

Barbara Ehrenreich wants to affirm the value of ecstatic group celebration. She aligns it with the old precolonial, precapitalist, pre-Christian religions, and with Carnival. The dancing meant by her title has ancient roots; it precedes streets. It also goes beyond them in the modern stadium, where sports and music, watching and performing, all merge. The kind of celebration Ehrenreich celebrates is communal though ungoverned, and anti-hierarchical though ancient. In the god Dionysus she sees a liberating force needed but resisted by modern Western society. She finds Bacchic group joy in carnivals and maypoles, in the dancing rituals of Africa and the Americas, in the French Revolution and in the face-painting of sports fans.

This is an important subject: how much will the human traditions of ecstatic dance, group celebration and Carnival preserve autonomy and help preserve the dignity of individuals? How much will those traditions and our universal, intuitive response to them, be manipulated and co-opted in the interests of uniformity or corporate profit or authoritarian control? Is culture already crippled by a dearth of free communal joy? How much is the celebrating crowd a release valve for energy, how much a potential focus of energy? And what sort of energy?

Ehrenreich identifies these issues, and is ardently on the right side of them. A research journalist, not a thinker or artist, she doesn’t much illuminate them. Her strength, as demonstrated by previous books about low-paying work (“Nickel and Dimed”) and war’s emotional appeal (“Blood Rites”), is her reporter’s nose for subject and information. She assembles juicy quotations, like Martin Luther on dancing: “I can’t bring myself to condemn it, unless it gets out of hand and so causes immoralities or excess. … So long as it’s done decently, I respect the rites and customs of weddings … and I dance, anyway!”

The double-chinned Luther of Cranach’s portrait, cutting a seemingly incongruous peasant jig, harks back to prehistoric forces. Similar forces helped drive the eclectic Hau-hau cult of the Maori in 1864. The Hau-hau resisted colonial injustices under British rule. Deconverting from Christianity, they also incorporated bits of it into their rapturous pole-dance. Ehrenreich quotes a description of their songs as “an extraordinary jumble of Hebrew, English, German, Greek and Italian.”

On the other side — as Ehrenreich sees it, continuing the voice of Dionysus’ antagonist Pentheus, the young king who resists the god in Euripides’ “Bacchae” — here is a Nazi directive for Third Reich dance bands, dug up by Michael Golston (presumably not a pseudonym for Mel Brooks): “On no account will Negroid excesses in tempo (so-called hot jazz) or in solo performances (so-called breaks) be tolerated; so-called jazz compositions may contain at most 10 percent syncopation; the remainder must consist of a natural legato movement devoid of the hysterical rhythmic reverses characteristic of the music of the barbarian races and conducive to dark instincts alien to the German people (so-called riffs).”

This comical passage helps support Ehrenreich’s distinction between the costuming, shouting, dancing, ritual behavior, atavism and collective exultation that she approves of and similar elements in Hitler’s Nuremberg rallies. The fascist event, she says, is a “scripted” spectacle and those attending “did not assemble spontaneously but were rounded up.” A spectacle audience is passive, unlike the rapturously participating crowd at the maypole or the slave revolt (or at Ehrenreich’s preferred parts of the French Revolution). Carnival mocks authority, and is spontaneous. Thus, fans who wear costumes or dance and sing at contemporary sporting events are “carnivalizing” the event.

Such pro-carnival distinctions, with their good-hearted sympathy for the demotic, the colonized, the neglected, the repressed, are extremely vulnerable to counterargument. Even a reader eager (as I am) to prefer carnival over hierarchy will wince at Ehrenreich’s blurry, prefatory disclaimer: “Not every form of ‘irrational’ group behavior will be considered here; panics, crazes, fads and spontaneous ‘mob’ activities do not fall within our purview. Lynchings — or, for that matter, riots — may generate intense excitement and pleasure in their participants, but the focus here is on the kind of events witnessed by Europeans in ‘primitive’ societies and recalled in the European carnival tradition.”

Quotation marks suggest the writer’s need for a straw man who misuses words like “irrational” or “primitive.” The passage continues to defend the ecstatic group events: “These were not spontaneous outbreaks of ‘hysteria,’ as some Europeans tended to imagine; nor were they occasions for the suspension of all inhibitions and a general ‘letting go.’ The behavior that seemed so ‘savage’ and wild to Western observers was in fact deliberately planned, organized, and at all times subject to cultural rules and expectations.”

For fascist events, people “did not assemble spontaneously”; but in another context it is the authentic carnival events that “were not spontaneous outbreaks.” Ehrenreich’s absolute separation between kinds of crowd behavior — the brutal utterly unlike the benign, the fascistic utterly unlike the anticolonial — wobbles.

Nevertheless, she effectively evokes the evils of colonialism from this cultural viewpoint. There is a world of shame and sadness in the African expression she cites for conversion to Christianity: to have “given up dancing.” And ordinary good sense acknowledges her general point: the Nuremberg-style rally is not a peasant wedding, and the maypole is not the lynching tree. But good sense also recognizes that the two kinds of crowd cannot be utterly different in psychology.

This is not a scholarly treatise, but a book to read for quotes, examples and anecdotes. Ehrenreich’s project may be limited, but it is not wrecked, by a warmed-over quality in borrowings from Max Weber, or a breezy equivalence of Wahhabism and Calvinism. Conceptual and logical matters are not the main problem. Style is. How should one write about wild, mass ebullience?

Here is a sentence from Ehrenreich’s chapter “The Rock Rebellion”: “A good part of the frisson of early rock lay in the rhythmic and often sexually suggestive movements of the performers — grinding their hips, thrusting their pelvises, rolling their shoulders, leaping and falling on the floor — ‘rocking,’ in short, as a way of announcing that the ‘new’ music was inseparable from creative, free-form, heat-driven motion.”

And this: “Rock’s contribution was to weigh in decisively on the side of hedonism and against the old puritanical theme of ‘deferred gratification.’ ”

Or this, from her chapter on sports: “In a stadium or at an arena, the audience has been expected for decades to leap up from their seats, shout, wave, and jump up and down with the vicissitudes of the game.”

This language — having rock “weigh in,” phrases like “ ‘rocking,’ in short” and “vicissitudes of the game” — fails to evoke its subject, except maybe by contrast.

Sometimes an interesting idea collapses into a puddle of dead metaphors and weary cadences: “The rise of social hierarchy, anthropologists agree, goes hand in hand with the rise of militarism and war, which are in their own way also usually hostile to the danced rituals of the archaic past.”

This pop anthropology lacks fizz. There’s a yearning, wistful gap between Ehrenreich’s celebration of inebriated dance and her term-paper prose. In that yearning, she disregards the double, ambiguous nature of Dionysus, the deity she calls “the first rock star.” Possibly, her writing indicates a flinching, less than complete apprehension of that shape-shifting Lord of Misrule.

Dionysus seems to embody a force rightfully needed and rightfully feared. Is the abandon of his worshipers humanizing or dehumanizing — or human? Bacchic energy can overthrow tyranny, and it can tyrannize. In her pages on rock, Ehrenreich just barely mentions the Dionysian landmark of Woodstock — and says nothing about the calamity a few months later of Woodstock’s evil twin, Altamont, where an 18-year-old black man was killed. He was kicked and beaten, as well as stabbed multiple times by a member or members of the organization contracted to keep order and guard the stage: the Hell’s Angels, a name that suits the double nature of Dionysus. Which is to say, the double nature of us humans.

In the “Bacchae” of Euripides, Dionysus leads the queen Agave to join the Bacchae — and in a frenzy of delusion, she tears her son Pentheus into bloody pieces, then carries his head as a trophy. After Agave has come to her senses, and realizes what she has done, Dionysus speaks. “I am Dionysus. I am Bacchus,” he says (in the C. K. Williams translation). He proclaims that the horrors he has brought Thebes could have been prevented “if you had understood your mortal natures.” “Dancing in the Streets” takes an honorable, faltering step in that direction.

Robert Pinsky is the author, most recently, of “The Life of David.”

source: http://www.nytimes.com/2007/01/14/books/review/Pinsky.t.html?pagewanted=all&_r=0

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