Over the last quarter-century David Peace has helped to shape the meaning of historical memory in this country. Since the publication in 1999 of the first volume of his Red Riding Quartet — a suite of novels narrating the decay of social democracy and the rise of Thatcherism in a scarcely fictionalised West Yorkshire setting — Peace’s […]
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It is ironic that one of the great challenges of political activism across borders is taking the obscure complexities of a globalised economy and making them legible and local. Even today, with so much direct visual evidence of exploitation and violence at our fingertips, apologists are quick to tell us that any given situation of […]
In 1977, Giorgio Moroder laid down the grid-like groove of Donna Summer’s ‘I Feel Love’ and established a new electronic paradigm for pop. So began a period of machine-made acceleration that remains the conceptual bedrock of every sound in Futuromania: Electronic Dreams, Desiring Machines and Tomorrow’s Music Today, a book about our dreams of the […]
Sex, drugs, and midnight screenings of Eraserhead — Jane Giles and Ali Catterall’s freewheeling and nostalgic documentary Scala!!! tells the story of the (in)famous London cinema that served the city’s outcasts, punks, and misfits from the late 1970s until the early 1990s. For much of its existence, the Scala cinema was based in pre-regeneration King’s Cross, […]
In my recent article in Small Wars & Insurgencies, Uncovering the sources of revolutionary violence: the case of Colombia’s National Front (1958-1964), I highlight how failures to secure consent through a passive revolutionary process compelled the dominant classes to adopt coercive solutions.
The post Passive Revolution and Armed Struggle in Colombia appeared first on Progress in Political Economy (PPE).
Four explosive tales of blood, spit, and venom.
The post The Animals That Turn Bodily Fluids into Weapons appeared first on Nautilus.
Stage Zero: Unwelcome Discovery
Your rather unrefined friend sends you a link to an AI-generated violin concerto.
“Cool, right?!” she texts, followed by the laughing emoji.
You touch the callus on your neck from your twenty-two years of playing violin. Suddenly, the memory of the ruler-wielding teacher you had before you started the Suzuki method invades your mind, and you wince, subconsciously hiding your knuckles.
You click on “Vibrant Expressive Baroque Concerto.”
Stage One: Denial
It’s not that good.
It sounds like the B-side of a knockoff of the Brandenburg Concertos.
Nobody wants pretty good music. Nobody wants a pretty good burger. This is New York, you tell yourself, we don’t do “pretty good.”
Stage Two: Anger
You are more of a depression person. Eat your moping croissants and skip directly to the next stage.