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Collectivism after Modernism - autonomous learning - Blogs

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276 Brian Holmes<br />

with no importance given to race or colors, the power of money humiliates dignities,<br />

insults honesties and assassinates hopes.<br />

On the signal follow your color / Let the Carnival begin. 7<br />

The music was supposed to come from speakers carried in backpacks.<br />

But no one could hear it above the roar. Four groups divided anyway,<br />

not exactly according to color; one went off track and ended up at London<br />

Bridge, to hold a party of its own. The others took separate paths through<br />

the medieval labyrinth of Europe’s largest Wnancial district, converging toward<br />

a point that had been announced only by word of mouth and kept secret<br />

from all but a few: the London International Financial Futures & Options<br />

Exchange, or LIFFE building, the largest derivatives market in Europe—the<br />

pulsing, computerized, hypercompetitive brain of the beast. The trick was<br />

to parade anarchically through the winding streets, swaying to the samba<br />

bands, inviting passing traders and bank employees to take off their ties or<br />

heels and join the party, while a few smaller groups rushed ahead, to dodge<br />

tremblingly into alleyways and await that precise moment when a number<br />

of cars would inexplicably stop and begin blocking a stretch of Lower Thames<br />

Street. The sound system, of course, was already there. As protestors shooed<br />

straggling motorists out of the area, larger groups began weaving in, hoisting<br />

puppets to the rhythm of the music and waving red, black, and green Reclaim<br />

the Streets (RTS) Xags in the air. The Carnival had begun, inside the “Square<br />

Mile” of London’s prestigious Wnancial district—and the police, taken entirely<br />

by surprise, could do nothing about it.<br />

Banners went up: “our resistance is as global as capital,”<br />

“the earth is a common treasury for all,” “revolution is the only<br />

option.” Posters by the French graphic arts group Ne Pas Plier (“do not<br />

fold”) were glued directly on the walls of banks, denouncing “money world,”<br />

proclaiming “resistance-existence,” or portraying the earth as a giant burger<br />

waiting to be consumed. The site had also been chosen for its underground<br />

ecology: a long-buried stream runs below Dowgate Hill Street and Cousin<br />

Lane, right in front of the LIFFE building. A wall of cement and breeze<br />

blocks was built before the entrance to the exchange, while a Wre hydrant<br />

was opened out in the street, projecting a spout of water thirty feet into the<br />

air and symbolically releasing the buried river from the historical sedimentations<br />

of capital. The protestors danced beneath the torrent. In a historical<br />

center of bourgeois discipline, inhibitions became very hard to Wnd. This<br />

was a political party: a riotous event, in the Dionysian sense of the word.<br />

The quality of such urban uprisings is spontaneous, unpredictable,<br />

because everything depends on the cooperative expression of a multitude<br />

of groups and individuals. Still these events can be nourished, charged<br />

in advance with logical and imaginary resources. The six months preceding

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