The birth of the commodity market marked the formation of capital, the passage from feudal forms of production to the capitalist one. With the entrance of production into its spectacular phase the commodity form has extended to everything that exists: love, science, feelings, consciousness, etc. The spectacle has widened. The second phase does not, as the marxists maintain, constitute a corruption of the first. It is a different phase altogether. Capital devours everything, even the revolution. If the latter does not break from the model of production, if it merely claims to impose alternative forms, capitalism will swallow it up within the commodity spectacle.
Only the struggle cannot be swallowed up. Some of its forms, crystallising in precise organisational entities, can end up being drawn into the spectacle. But when they break away from the deep significance that capital gives to production this becomes extremely difficult.
In the second phase questions of arithmetic and revenge do not make sense. If they are mentioned, they take on a metaphorical significance.
The illusory game of capital (the commodity spectacle) must be substituted with the real game of the armed attack against it for the destruction of the unreal and the spectacle."
Alfredo Maria Bonanno, Armed Joy, Chapter 8 (via insurrectionsociale)
Ikebana artist Toshie Yokoi practices the Japanese art of flower arrangement with fruits, vegetables and other readily available plant life to illustrate that you don’t need expensive and exotic flowers to make a gorgeous floral arrangement.
All images via: Ikebana: Fruits and Vegetables by Toshie Yokoi
i love the backdrops and image frames too
[One day in a tutoring program for young poor black children]
We were going to write songs. Nobody was there. Nobody came.
Victor Cruz and I sat talking, dispiritedly. We both felt demoralized. Victor said this was the last day, anyhow. I was stunned to consider this might be so.
"What do you think was accomplished?" I asked him.
"The experience of failure."
"But is that worth having?"
"Oh yes, it’s very valuable."
So we were gloomy with value.
—June Jordan, “The Voice of the Children” (1967), in Civil Wars
Insomuch as the four actresses we have been speaking of play a most essential role in these memoirs, we believe, even were we to have to beg the reader’s forgiveness therefor, we should still feel obliged to describe them; they will narrate, they will act: such being the case, is it possible that they remain unknown?
—Marquis de Sade, The 120 Days of Sodom (trans. Austryn Wainhouse and Richard Seaver)