CONTENTS - ouroboros ponderosa

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[\/I I ' lll:\, 11{( lNY .\NIl "Hill!" by its rcycling of elemellts from carlier lor;!.',;, Ill;11 tlt-vl'lupillelit is at illl end, so thc tired current of "instant nostalgia" indicates a similal condition for massified art, media and the spectacle in general. Tht' successful representation of life now relics, for its last resource or energy, on the re-use of ever more rccent cultural memories_ Occasionally tht' mass media themselves even make this recycling explicit, as in a TV commercial for lemonade: "Look what's happened to way back when. Now everything old is new again." It is among responses to this manipulated Iifc, of course, that the deepest interest must lie, our weighing of the movemcnt and meaning of responses. [rony, for example, was possibly always diseonneetivc or defusing, in its tendency to substitute an easy joke for a too direct response to a loaded conversation or other critical situation. But if it was always in that sense "a form of appeasement," in Bill Berkson's phrase, for this undermining of dialogue, irony is now automatic and establishes complicity in a deeper sense. So much is "camp," and whatever subver sive potential that once might have resided there is long dead. An ironic or sarcastic response to the world is nearly always present today; it is a cliche, a convention rather than a sign of independence. Skcpticism-or at least its image-is built into the parade of images and roles, though the reasons why it is needed cannot be comforting to those who do not wish to give up the synthetic. If "nihilism" is as close to everyone's grasp as rock music or the seven hours of television consumed on average per day, one can sec, equally, that such "nihilism" is not enough and that the spectacle's strength is being strained. The further alienation must be represented and sold to us---consider "Miami Vice," for example, (and that it features cops is mostly irrelevant) with its ultra-hipness and angst-the more careful we must be to avoid its cultural-political recuperation and the more depth is required to do just that. The rock videos of MTV at times seem to threaten the very integrity of the subjective; their frequent surrealism projects more powerful images than the Surrealists achieved, with more power to colonize imagination. David Letterman mocks the TV industry and his own format while enriching media; who would really be surprised to see explicitly "radical" angles presented there? Meanwhile, the Church of the Subgenius is virtually a cultural industry in itself and its digs at religion, work, etc. pack no more punch than Letterman. In fact, culture needs such farce to pep up its dying appeal. Not surprisingly, "Rev." Ivan Stang, Subgenius founder, writes regularly for Iligh Performance: A Quarterly Magazine jar the New Arts Audience to I " r I· r\11 i'l 1:-. I )]. I 1'1,1 IS:\ 1 hl'lp IlIlTt I Ill' art-lIl'ad dCllland for ]Jew an tics hy his Church. The radical ("(I', (" or the very popular Suhgcnius cnsmhlc is not far from that of "Satuf'l]ay Night Live," or that of Artjim,m, in which ready references to ,\
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!\cknowleJgcmcnts Many people provi
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i, II)l} Nl'W YUI k, Nl'W York 1'1
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, 'II and domination, With the adva
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NUMBER: ITS ORIGIN AND EVOLUTION Ih
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the quantum theory, is that which i
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'1'111 CASI'. ;\"AINSI ;\1{1 reflec
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critique at best. Frequently compar
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AGRICULTURE Agriculture, the indisp
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I'anlll:rs starvTd ;tiS() kslil ' y
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SII Many thcories havc been advance
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\( ;]Z]( ' [ il.l'! IIZI cd, proces
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PART TWO
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INDI)STRIAIJSM ANI> i)(lMJSrJ('ATH
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INI)[ IS'II
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11111 INIHI .... ,I";\ ] 1.'\1\.1 .
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IIJ.I INIHISII' Ir\I.lSM ANI ) 1)(I
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IllS dismayed hy the rash of strike
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';' AXIS POINT OF AMERICAN INDUSTRI
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J\dS "( )jN-.- f,, · AMI·',U·r\N
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,\ .\1', ('( liNT ()] !\1\·l I IW
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11·1 AXIS , 'c lIN l" eJl- ;\r\II-
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A.\I\ I't liNT Ill- !\r-.1 I·11(
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THE PRACTICAL MARX Karl Marx is alw
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1'111 " IL\( 'II( ,\ 1 MAle, revolu
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1·111 '1'111. 111, :\1 ' 111 ',\1
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- .. ORIGINS AND MEANING OF WWI Wor
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Page 89 and 90: lSI) I INI( )NI/,\TH )N Ir,J ;\' 1\
Page 91 and 92: III;I/ln; Ililt l 1 iiI" II 11\\111
Page 93 and 94: IXX ()H( ;,'\NI/I'IJ J.,\ IIC IH \'
Page 95 and 96: PI,' I ) l,c ,\Nl/I JI 1 . \ , ,,·
Page 97 and 98: I II" arhilralnr Rohcrt I ':. Burns
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Page 101 and 102: Ti ll ' I{H'I I'." 1 II' '1"1 '( li
Page 103 and 104: . " IS AN IJ Wi tH .... :\ NJ ) 111
Page 105 and 106: important local collahorativL: setu
Page 107 and 108: THE PROMISE OF THE '80s For many, t
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Page 111 and 112: J.) ·1 undcr-s pply u . cpitc a 6
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Page 115 and 116: "u. 'rilL PH( )M1SI ". (H' Ti ll' '
Page 117 and 118: Sl" H'I";tI di ... ·d rllsl nf ins
Page 119 and 120: · . , " " " ' ''' ''" .. ' " " " "
Page 121 and 122: I ' THE '80s SO FAR " rom new lcvel
Page 123 and 124: Ti ll ' 'xu .... :'-,( ) 1-",\ 1, t
Page 125 and 126: , . , , ) " TI ll' 'OS SI ) " ,\1,
Page 127 and 128: PI'.! '.1 -N I I' \' "H I \ I I 1 I
Page 129: ,. MEDIA, IRONY AND "BOB" It is not
Page 133 and 134: I'( )HM ANI ) ('()Nrl-NT IN 1, ' 1
Page 135 and 136: !-"I mr"" l\ NI ) ( " 'N / I -N ' I
Page 137 and 138: .) /f, N( )JI' , . : lIlllH:r H{Tk
Page 139 and 140: J%6), p. 3t1, n. 1.1. N( )II ', 48.
Page 141 and 142: S6. White, qUOh.:d ill Kulik, ("/ I
Page 143 and 144: ,(0)) ,. T,lylm, op. ("if., p. J..I
Page 145 and 146: 2J.. l'red ('ouk, " l lanl ! LlL.,;
Page 147 and 148: Appendix: Excerpts from Adventures
Page 149 and 150: NUCLEAR MADNESS ... VIOLENCE AGAINS
Page 151 and 152: If it's humiliating to be ruled, ho
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CONTENTS - ouroboros ponderosa

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