2127 / The Anarchists (HBO docuseries 2022)

spacetime coordinates: a US enclave in Acapulco Mexico cca 2015 till now

It showcases a series of events that unfold over six years. An impulsive one-time gathering in Acapulco, turns into an annual event. Directed by Todd Schramke. It showcases a series of events that unfold over six years.

I have posted in the past an in-depth documentary in 3 parts directed by Ramonet (Tancrède) about anarchist history, thinking and various experiments, and even mentioned in passing the figure of Murray Rothbard (1925-1995). In comparison this documentary feels like a joke or a mock-up but for many it might still spell the truth about current anarcho-capitalist trends. Others have done a much better job at outlining the intellectual history of that particular school of extreme market capitalism from which it sprung called neoliberalism, and how its birth after WW1 out of the ashes of the multi-national Habsburg Empire was much more than the usual key figures everybody mentions (Friedrich Hayek and Ludwig von Mises), yet they are the ones who left a lasting and one might say pretty damaging imprint on today’s brand of globalism. It is in this context that historian Quinn Slobodian mentions a few important others (such as Wilhelm Röpke and Michael Heilperin), that struck a different path than their predecessors or contemporaries not supporting the usual laissez-faire economics but ending up on some bizarre intellectual paths of their own (including preparing some of the actual racist enthno- politics or one might say).

As capitalism arrived in Romania after 1989 with layoffs, unprecedented deindustrialization, price liberalisation (and the follow-up: gig economy and precarity), the usual fare of shock therapy (at least in Eastern Europe) was also accompanied by a sleuth of translations from some of these and other writers. Since these ideas suddenly started being so pervasive, so ‘natural’ in our societies, their influence ranges from government edicts to from movies and (sadly) school textbooks. Hard to trace their history or to even question them nowadays as presentism rules. Still there’s family resemblances. One characteristic they have in common (even the Wilhelm Röpke and Michael Heilperin might agree on that) is in the words of another important historian – Ellen Meiksins Wood – the differentiation of ‘spheres’ in capitalism, in particular the separation of the ‘economic sphere’ from the ‘political sphere’. The way in which capitalism exploitation works along in history is by transforming certain “essential political issues—struggles over domination and exploitation that historically have been inextricably bound up with political power—into distinctively ‘economic’ issues.”(check Ellen M W essential article from 1981 on that!).

Here come the anarcho-capitalist of today. Californian Ideology is drenched with that too. It is a direct child-brain of the Reagan-Tatcher compact. In other obnoxious ways it keeps vaunting its purity & pseudo outcast veneer – by affirming its libertarian credo. Year they have a mottled base and have drawn members from all sorts of corners (and this docu makes it amply clear): affluent types ex-finance ex-Wall Street types, Tech Billionaires, Dark Web traffickers dominante to which one might add gun ownership rights promoters, preppers, ex vets, home-schooling activists, tax-resistence activists, even the odd pacifist, conspiracy theorists etc. Still, most vizibile in the end are PROMOTERS OF HYPERBITCOINITIZATION and its almost as if this subtends their whole experiment, without any questioning ot tech scepticism (as long as they sponsor you & coin pays). But to talk about real – thermodynamic costs. It’s a crypto data mining bonanza world where thermodynamics (Gottfried Leibniz’s point about mathematician Pierre-Simon Laplace’s demon – an argument wisely made jn regard to Blade Runner by C Mudede) is forgotten, magically suspended. It’s not at all far-fetched to say ideas espoused or ideological commitments expressed by ancaps had a say in both the alt-right and the 2021 United States Capitol Attack as well as the current crypto boom and bust. Bitcoin and blockchain tech are part of what could be coined Silicon Valley Solutionism – of preffering a technological fix for everything or pushing their inventions and solutions especially if they benefit the providers of those very solutions (sold with an invisible higher prize tag than what the city administrations have payed to make it snug & comfy for them). Anarhapulco seems like a bizarre neocolonial enterprise in US backyard: Latin America. Since end of 19th c ghe rising US Empire has played dirty, brutally pushing its interests and orchestrating numerous anti democratic political coups in the name of democracy, subverting local power and increasing misery and instability. It’s NSS apparatus, it’s corporations and elites have been instrumental in that. Important to understand that these flimsy overnight positions and ideologies are not at all as spontaneous or self-made meaningless Anarcapulco ‘joke’ had deep roots in the Cold War era narratives and paranoia of movies such as Red Dawn or books such as Atlas Shrugged by Ayn Rand where the enemy was either US state (or IRS) described as a hideout for ‘commies’ or ‘parasites’ at home. Movies such as Tge Hunt also speak of this shifting paranoia that characterizes uses of ‘RINOs'(Republican In Name Only) to blame those deemed un-loyal, ‘bad actors’ and especially the strawman of Cultural Marxism or malefic liberal elites at home.

The reality is much more complex, and there is actually historically and institutional reasons why this complicity btw the National Security State and its covert support for such radical free market elements or entrepreneurial ideas works almost because of ideals that otherwise would deny all state involvement and all goverment aid. Did the at any point ask or consult even the local communities were they landed? Did they use any democratic means to inquire what the locals think prior to their arrival there? Noy at all. All this whining over taxation and constant victimizing over government interference actually hides the way cities in the US have been declared “failed cities” (see Detroit – who also makes an appearance in The Anarchist as a ‘white’ commune ? almost the counterpart of Anarcapulco). They ignore the almost complete systemic racism, non existent welfare, rampant environmental injustice sjd unwillingness to act on it, a minuscule public spending and endemic lack of goverment interference – since for all its global reach, tech supremacy, influence in world affairs and military over reach (800 mil basis around the world) the US internally is built on feet of clay.

Important to understand that these anti- government ideas did not go away with Tatcher or Reagan, but have been very cooking up, alive in the dotcom boom rise & fall, the foundation & impunity of (national asset) Big Tech entrepreneurship since the early 1990s, well before COVID 19 pandemic struck and expose how the trust in much public institutions had been eroded, or if public infrastructure and even liberal democracy was itself worth saving, well before the UBER leaks scandal hit us.

So maybe you won’t find anything of the above in this docuseries, and on watch lists and recommendation. I find these things pretty blaring. The Anarchists is more about the celebertarians and seasteading than their actual history of ancap encrouchment (although u see a lot of Ron Paul and even clips with Ayn Rand – tough that would be enough to put you off). Watch it if you must, keeping in mind all of the above or enjoy a conventional beach resort party gone sore. The only interesting part (beside its almost cheapo reality TV feel) is how made-up and how unconvincing sound this cries for freedom from normal affluent mostly white (apart from very few notable exceptions) mostly bachelor, well educated and mostly male (the women had almost scripted exclusive nurturing roles). The only unstable elements – the sad PTSD vets are almost colateral, but they are the only shadow of constant wars abroad (Irak, Afganistan) and the way imperial foreign policy strikes back, becomes war as mass culture. Militarism abroad has a tendency to spill over into militarization of police violence and disastrous & multiplying mass shootings.

Apart from a vegan place there is NOTHING absolutely nothing about the local Mexican anarchists or rich local resistance and anti-exploitation anti imperialist histories. Where is the history of the Mexican Revolution, of of the earliest revolutions of the XX c? Where are the Trots’s in exile or the Zapatistas in the South? All these counter-histories seem forgotten, delete. Nothing about the terrible costs inflected upon migrants that want to move North in search of a better life no matter what the cost to their personal liberty and freedom or the risk from de-hiydration or being hunted down by vigilante right wing border patrols. None of that here! It is a history in a bubble of another bubble. Nobody is questioning the criteria on which this on rush for so-called boundless optimization, efficiency and guaranteed benefits is built. Here are the absolute total normies you might say – and look how easy it is nowadays to self-identify as ‘anarchist’ or be reborn overnight as libertarians or have a friend in crutches hand you a book on the EVIL gov, and then instant ‘alternative’ lifestyles suddenly feel part of ‘your’ orientation and mission. This generally tends to end bad for the unprotected. Is it odd, is it ‘radical’ to be one of those suddenly moving from the rich Global North to the Global South being moved by ‘vibes’ and crypto-currency sponsorship and blogging platforms?! Don’t think so. It’s striking that most ‘crypto scheme’ promoter plan to revolutionize the economy only in impoverished, deregulated, and de-funded countries and mostly having suffered directly under the US neo-colonialism. They are either reeling after neoliberal ‘shock therapy’ or finding themselves squeezed under crushing private international debt & austerity measures. This possible explains how crypto arrived in Salvador via goverment promises and Philippines via gaming. The whole cheaper than at home (low cost) hotel- ballardian (Cocaïne Nights) environment living in Anarchapulco is actually what the utopia of this seasteding (fiscal paradise) crowd was all about.

IMDB

2024 – Zeros and Ones (2021)

Zeros and Ones is a 2021 American-Italian thriller film written and directed by Abel Ferrara. It stars Ethan Hawke, Cristina Chiriac, Phil Neilson, Valerio Mastandrea, Dounia Sichov, Korlan Madi, Mahmut Sifa Erkaya and Anna Ferrara. (wiki)

I decided to repost my thread with first thoughts on Abel Ferra’s remarkable last production. Altough hard to encapsulate and probably not a success with the critics – Ferrara’s late foray into current world affairs is one of the most visionary & contemporary things out there. It’s impossible for me to sum up but it as if he took wll our daily digital supper, all the aberran and yet so real and hard to encapsulate -apocalyptic moods and made them into a movie. My tw were posted as sort of personal notes freshly after watching it online and reading just Steven Shaviro’s blog review (he’s a big Ferrara fan). I stumbled on Ferrara almost by chance, wachted Bad Lieutenant with my father as an adolescent. We were both blasted apart. There was nothing to compare it with. Will never forget his academic vampire movie (The Addiction) – a total and welcome radical reworking of old horror tropes.

1777 – Can’t Get You Out Of My Head: An Emotional History of the Modern World (2021 documentary series by Adam Curtis)

directed by Adam Curtis (Pandora’s Box, The Century of Self, The Power of Nightmares, All Watched Over By Machines of Loving Grace + many more)

Synopsis

Can’t Get You Out of My Head: An Emotional History of the Modern World is a six-part series that explores how modern society has arrived to the strange place it is today. The series traverses themes of love, power, money, the ghosts of empire, the history of China, opium and opioids, the strange roots of modern conspiracy theories, and the history of Artificial Intelligence. Inspired by the 2016 apex of populism—the political ideology which presents The People as morally good, and The Elite as morally bad—the underlying aim of the series is to show why the critics of Donald Trump and Brexit were unable to offer an alternative vision for the future.

Part 1 — Bloodshed on Wolf Mountain

We are living through strange days. Across Britain, Europe, and America, societies have become split and polarised. There is anger at the inequality and the ever growing corruption—and a widespread distrust of the elites. Into this has come the pandemic that has brutally dramatised those divisions. But despite the chaos, there is a paralysis—a sense that no one knows how to escape from this. Can’t Get You Out of My Head tells how we got to this place. And why both those in power—and we—find it so difficult to move on. At its heart is the strange story of what happened when people’s inner feelings got mixed up with power in the age of individualism. How the hopes and dreams and uncertainties inside people’s minds met the decaying forces of old power in Britain, America, Russia, and China. What resulted was a block not just in the society, but also inside our own heads, that stops us imagining anything else than this.

Part 2 — Shooting and F**king are the Same Thing

This next part traverses the story of what tore the revolutions in the 1960s apart. Jiang Qing in China, Michael X in London, Afeni Shakur in New York believed that millions of people’s minds were haunted by the corruption and the violence of the past. They wanted to show people how to escape those ghosts. But they hadn’t reckoned with the fact that the old structures of power still haunted their minds too. They too had been scarred by the past, and some of them wanted violent revenge. While psychologists and neuroscientists were starting to discover what they said were hidden forces inside the human brain that really controlled what they did. But the people weren’t aware.

Part 3 — Money Changes Everything

This is the story of how in the 1970s, those in power set out to create a world free of the dangerous big ideas of the past. They banished the grand dreams of changing the world. And replaced them with money. People would live from now on in their own heads—in their own dreams. And the banks would lend them the money to create those dreams. While China would supply a wave of cheap consumer goods on a scale never seen before in the world. But then money broke free across the world. And people started to get frightened that things were out of control. Not just money—but the world’s climate too seemed to be behaving in a strange, unpredictable way. The systems seemed to have a life of their own. Beyond the ability of anyone to shape and predict.

Part 4 — But What If the People Are Stupid?

No one trusted politics or politicians any longer. Instead we were all one world of free individuals. And we could intervene to save other individuals around the world without bothering with old politics and power. And people became what they as individuals truly were—emotionally and sexually. But power was mutating and finding ways to work its way back into our heads. The politicians realised that they no longer had the support or the trust of the people. So they switched sides and gave up being our representatives who would challenge the powerful on our behalf. Instead they began to tell us what to do on behalf of the powerful. And they made new alliances—with the psychologists who said that human beings were irrational and needed to be managed. But we didn’t notice because we were too busy shopping.

Part 5 — The Lordly Ones

It wasn’t just the Slave Trade: 150 years ago Britain had wrecked China by forcing opium on the country. It made Britain the richest and most powerful country in the world. But it enslaved the minds of millions of the Chinese and helped destroy the society. But then the British got frightened of what they had done and created a dream image of a Britain that had never existed, to hide from the fear. This film tells the story of how from the end of the 19th century a magical vision of Britain’s feudal past was created by artists and writers. How folk music and folk dancing was invented to create a kind of safe dream of the nation that could hide the violence and the horrors. The dream persisted under the surface of the 20th century. But as the fears and uncertainties and the chaos of the last few years rose up millions of people started to believe that dream: that it was real.

Part 6 — Are We Pigeon? Or Are We Dancer?

The final episode tells how the strange paralysis that grips us today was created. How all the different forces of our age—that started out as separate have come together to create what is a block against imagining another kind of future than this. How, money and debt, melancholy over the loss of empire, the strange roots of modern conspiracy theories, the history of China, opium and opioids, Artificial Intelligence, and love and power have all fed into creating the present time of anxiety and fearfulness about the future. And whether modern culture, despite its radicalism, is really also part of the rigid system—in the West and in Russia and China—where those in power have run out of all ideas. The film also lays out what are the different possible roads from here into the future, and the choices we will have to make about the very different futures we will have to choose very soon.

Read a review on Guardian

1542 – Bye Bye Jupiter aka Sayonara Jupiter (1984)

spacetime coordinates: year 2125, Earth’s population has swollen to 15 billion with a further 5 billion outer space settlers spread throughout the solar system, including Mars and satellites of Jupiter.

Director: Koji Hashimoto & Sakyo Komatsu

Year: 1984

maxresdefault-2

Minoru Sakyo Komatsu (小松 左京) is one of Japan’s trio of famous Japanese sci-fi greats together with Shin’ichi Hoshi and Yasutaka Tsutsui. Komatsu’s involvement with the 1970 Japan World Exhibition in Osaka makes him intimately linked to what came to be known as the ‘Japanese wonder’, the signature architecture and ideas of an era brimming with the optimism of bubble economy 80s, probably the most prosperous and carefree period in Japan’s modern history.

At the same time he is also linked to some of the most enduring traumas of Japanese sci-fi, the birth of a specific 70s disaster cinema(including Virus: The Day of Destruction), following the long tail of atomic bomb afterglow into cold war apocalypticism and what came to be seen as Akira hubris. Komatsu was a key player of the 1970s return to catastrophic imaginings of the future (in parallel with contemporary 1971 oil crisis, Watergate, the end of international golden standard, end of the wars of ‘national liberation’ and traditional communism etc). His best-seller, translated into many languages (including German) was Japan Sinks (1973) where Geotrauma is unleashed as a series of volcanic eruptions, rescue plans and earthquakes that brake up, inundate and transform the entire island nation into refugeesmmigrating to Korea, China, Soviet Union and the US. Japan Sinks brings the archipelago in touch with a tectonic plate ‘structures of feelings’ that questions all certitudes and difficulties of planing ahead of a major catastrophe. It was filmed as Tidal Wave in 1973 and in our own catastrophic-pandemic 2020 there is a new anime adaptation advertised by Netflix Japan in collaboration with Science Saru studios.

Sayonara Jupiter I could trace only in its German dubbed version, a delightful 80s artefact on its own. Based on the 1983 book by Sakyo Komatsu, Sayonara Jupiter offers a unique extra planetary outlook, probably only comparable to the recent Chinese Taikonautic blockbuster The Wandering Earth, based on Liu Cixin’s book. In its scope and enormity of its consequences it makes painfully clear that there is a mismatch with a Western imagination that largely gave up on regarding space as the ultimate destiny of humanity. Even former space race dreams pale when compared with these daring feats of Belt & Road exoplanetary geoengineering.

Prometheic terraforming gets introduces early on – humanity approaching an almost pre- Dyson Sphere initiative, right there on the Kardashev scale called ‘JS – Jupiter Solarization’ project) disclosing a galactic pupose that in turn necessitates the introduction of an alien encounter as well an absolutely credible nemesis: future extraterrestrial eco- terrorist cults. IMHO this vision is matched only by celebrated 1972 Douglas Trumbull debut Silent Running of biospheric drift & robotic gardening. Its technological sublime knows no bounds and so expect lots of wonderful TOHO studios mecha props, gigantic (physical!) spaceship models, upside down moving geisha extras in space stations, all propped up by a grandiose futuristic shamelessness and cosmic naivité. It is really hard to classify this as foolish overreach, cautionary tale, humanistic futurism or as dabbling with truly important questions regarding both planet- destroying capacities & planet – preserving/sustaining potential of future technology.

Now to get to the showdown of the movie: Chief Engineer Eiji Honda onboard Jupiter-orbiting Minerva Station as head of the JS Jupiter Solarization project team is confronted by a international group of protesters(later to be radicalized as terrorists) led from afar by a musician-guru cult leader. All live in a high surveillance Hawaii surf paradise where space hippies gave rise to the ‘Jupiter Church’. To quench the thirst for energy (resource poor Japan was always keenly aware of the energy crisis), space colonies government aims to overcome the costliness of nuclear fusion via a Big Science project that aims to transform Jupiter into a second sun that could power-up remote cosmic neighborhoods and outer planet suburbias. As if this feat was not sufficiently brash (in the eyes of the Jupiter Church), a newly discovered black hole is headed straight for the Sun, so that the solarization project gets retooled as a nova- project.

The only viable solution to Earth’s imminent destruction is a detonation powerful enough to swerve the black hole in a non lethal direction. Jupiter is slated for sacrifice, not before the chief Engineer and Space Linguist Millicent “Millie” Willem discover a 120 km long alien derelict ‘Jupiter Ghost’ spaceship hidden and emitting a (whale-like) signal they cannot decode. The imagery of this hidden spaceship is truly amazing considering the fact that it is all pre-CGI. This ancient paleo-astronautic spaceship relic has been lying in hiding since hundreds of thousands of years, camouflaged in the turbulent atmosphere of the gas giant and is probably responsible for the Nazca like drawings terraformers have discovered on Mars (as well as presumably for those on Earth).

Due to a change of directorial vision and other mishaps, Sayonara Jupiter can feel like an utterly dull movie experience in spite of such a grandiose inter planetary setting. This should not stop us from immersing into welcome ludicrousness and cosmist bathos mixed with erotica. There is this incredible terraforming imagery of Mars at the very beginning, the directed catastrophe-level geoeningeering that is cheered right from the very start – the one action that uncovers the 100.000 yr old Nazca drawings.

There is the space new age sex scene of the Eiji the Chief Engineer and Maria the Jupiter Church cultist infiltrator and terrorist that conspires to blow up the Minerva Station in order to save gassy Jupiter from destruction. Naked planetary floating bodies almost as bold as all the mixed couple book sex magic pinups u can think off. There’s also this singular cut from the Earth Federation President and Constantin Brâncusi’s famous modernist sculpture The Kiss, serving as a stand-in for a new togetherness in the face of disaster.

Luscious space yoga sci-fi cover art unleashed upon an unsuspecting audience with humans as the besotted species finally evolving into anti gravitational exo-planetary conservationist sex beings!

For those with an interest in that eras High Weirdness potential – Sayonara Jupiter offers bold glimpses of a shadow underbelly to the optimistic and prosperous Japanese miracle. There is something very specific to this Jupiter Church cult – something in tune with the bloom of doom subculture in the Japanese 80s when lots of ultra modern middle class women and men, including well adjusted media/TV celebs join esoterica leaning groups, a time when Aum Shinrikyo doomsday cult expanded and gained pop creds. Blind Chizuo Matsumoto became Shoko Asahara in 1987. It is a time when such Unabomber anarko-primitive clash and get enamored with the techno-scientist elite. Back to back with Reaganite US Star Wars program, Sayonara Jupiter is itself part of a neo-catastrophist revival of Immanuel Velikovsky theories that start resonating with a new prophetic ardor in a key shockumentary of that era: the 1982 Jupiter Menace narrated by George Kennedy (which I wrote at lenght in a previous post), featuring its own specific blend of US pop paranoia, fringe culture conspirituality and incipient prepper and survivalist drift into the disaster imagination of a planetary- astral eschaton.