Any Good Library - 2min39s

Any Good Library - 2min39s

DEATH TO THE GODS OF MOUNT OLYMPUS

FUCK THE OLYMPICS

Twenty Five Years from Scratch, ed. Michael Parsons, London: London Musician's Collective, 1994.

'Walkabout' a poem submitted by Michael Hampton would have fitted excellently with the collection of verse published as part of our recent issue on credit, debt and financial crisis. As a late arrival it joins the site here and as part of our Ongoing accumulation of fiscal verse 

                               Free Software
                         Toni Prug, toni@irational.org
                                August 13, 2007
Contents                                                              1 Introduction                                                          2
2 Hackers and the Protestant ethics                        2
2.1 Talk is cheap, show me the code (sola code) .    5
2.2 Against memory . . . . . . . . . . . . . . .. . . . . . .   7
3 Free Software, politics and ideology . .. . . . . . . .  8
3.1 PeerToPeer and Free Drugs democracy . . . .    11
4 Revolutionary justice . . . . . . . . . . . . . . . . . . . . 14
5 Hacking the regime of equal rights . . . . . . . . . .  17
6 Free Software and academia . . . . . . . . . . . . . .  18
7Conclusions                                                       20

In the course of his life, Victor Gruen completed major urban interventions in the US and Western Europe that fundamentally altered the course of western urban development. Anette Baldauf describes how Gruen’s fame rests mostly on the insertion of commercial machines into the decentred US suburbs. These so-called ‘shopping towns’ were supposed to strengthen civic life and structure the amorphous, mono-functional agglomerations of suburban sprawl. Yet within a decade, Gruen’s designs had become the architectural extension of the policies of racial and gender segregation underlying the US postwar consumer utopia

do not go gentle

dylan thomas/uri gagarin mix and mash

regretful melody to that cusp of modernity when technology promised to be both a salve on male uterine envy and an end to the cult of dutiful sons.

The late Derek Bailey's musical 'career' was founded on years of wage labour as a guitarist in dancehalls and nightclubs. An idea which aspirants to today's fully professional-entrepreneurial cultural sector would find barely comprehensible, suggests Matthew Hyland. For what other than individual elevation above wage-worker status defines the 'creative' life that these subvention-seekers clamour for so shrilly?