A ruota libera: Miseria del lettore di TAZ: autocritica dell’ideologia underground (Contatti)

ISBN: 8886232675
ISBN 13: 9788886232678
By: Peter Lamborn Wilson Hakim Bey

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Reader's Thoughts


A snippet:"WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they're the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. Later they will come to realize that for a few moments they believed in something extraordinary, & will perhaps be driven as a result to seek out some more intense mode of existence."


Laura, when I lent you this book I hoped that you would read it. When you returned it the other day with the Kafka book I lent you at the same time, I wondered if you had ever cracked this book open and seen the passages that I underlined in red pen. "If rulers refuse to consider poems as crimes, then someone must commit crimes that serve the function of poetry, or texts that possess the resonance of terrorism. At any cost re-connect poetry to the body. Not crimes against bodies, but against Ideas (& Ideas-in-things) which are deadly & suffocating. Not stupid libertinage but exemplary crimes, aesthetic crimes, crimes for love."I underlined this in my warn copy, with a twitchy hand, and a hunger for the promise of the line. Now, I am very distrustful of the phrase "At any cost". I wonder if I would still underline this with a twitchy hand and a red pen or would I tear out the page and crumple it into a ball and place it on my tongue and swallow the whole thing ...


Awful. I put this book here cause it is the kind of individualistic anarchist crap that has the potential to suck in otherwise bright young kids. Punks out there that are supporting Ron Paul have probably read this garbage. The worst part: hipsters read this and actually believe it has some merit. But I guess that goes without saying. There is no love of humanity in this book, just a love of self-centered 'hipness'. Yuck!


As all the reviews show, pretty polarizing - I'm happy I can walk the middle line on this and got what I could out of the book. Some good stuff here, and the dubious stuff can be covered mostly under the "romantic" approach of the philosophy and writing (really, it makes all the complaints about Bey not being part of some accepted philosophical system or history of Anarchism pretty redundant, and those that claim such things seem to have missed the point entirely - people don't storm barricades after reading dry, analytical texts. And I'm not even much of an anarchist). "Lifestyle Anarchism"? Absolutely! - as if there's anything wrong with that. Everyone preens, everyone postures, everyone's pretty much a hypocrite - no point in divvying up vituperation and blame based on the high-ground of your personal circumstances - is that moral relativism? Absolutely - as if there's anything wrong with that - a term currently slung by those who ignored it when torture was suddenly "expedient" a few years ago, or the wholesale theft of their banking masters was made obvious even more recently (job creators = thieves)... The NAMBLA stuff, yeah, troubling (I certainly don't share the predilection - I'm as straight vanilla as they come) - but at least he's honest and it might make people start to grapple with the grey area between adults attracted to 8-year-olds and adults attracted to 16-year-olds (much more accepted culturally - if still frowned upon - when it's heterosex and not homosex, our entire pop-music culture is built around "jailbait ass", for one, and anything good for the economy...). And I don't have any interest in discussing or debating that point further, so no need to comment....


Here is an excerpt from the book for people to judge for themselves, 90% of the book was this cut-up quasi-mystic-native-american-sorcery-voodoo mess, could someone please tell me what any of this has to do with anarchism? It reads like a el cheapo Burroughs imitation, and being a Burroughs fan I would normally see this as a great thing, if not for the fact that this was supposed to be a book about the history of the TAZ movement, and it reads like crappy hippie poetry."As guests of the Old Man of the Mountain Hassan-i Sabbah they climb rock-cut steps to the castle. Here the Day of Resurrection has already come & gone--those within live outside profane Time, which they hold at bay with daggers & poisons.Behind crenellations & slit-windowed towers scholars & fedayeen wake in narrow monolithic cells. Starmaps, astrolabes, alembics & retorts, piles of open books in a shaft of morning sunlight--an unsheathed scimitar.Each of those who enter the realm of the Imam-of-one's-own- being becomes a sultan of inverted revelation, a monarch of abrogation & apostasy. In a central chamber scalloped with light and hung with tapestried arabesques they lean on bolsters & smoke long chibouks of haschisch scented with opium & amber."WHAT ON EARTH AM I READING?!!? Here are some more choice quotes I noticed before I put this book down."Paste up in public places a xerox flyer, photo of a beautiful twelve-year-old boy, naked and masturbating, clearly titled: THE FACE OF GOD.""If "meat is murder!" as the Vegans like to claim, what pray tell is abortion? Those totemists who danced to the animals they hunted, who meditated to become one with their living food & share its tragedy, demonstrated values far more humane than the average claque of "pro-Choice" feminoid liberals."So he likes little boys, but is against abortion? I am so confused.


I want to say that this book is brilliant. Indeed, that was my impression upon reading it. Bey/Wilson is a unique talent - his writing is poetry: all of it hits you in the heart. I still want to say that this is an excellent book, definitely essential for anyone who wants to start up a cultural space and for anyone who likes dreaming and is inspired by the tenuous relationship between dreams, creativity and reality. I also want to maintain that this is certainly one of the best books I've ever read, and I wholeheartedly disagree with the people who maintain that there is no love for humanity here, or that it's all self-centered. I think the ideas are a lot more utopian and important than that - to put it all down to mere self-centeredness is rather shallow. There are hints of the mystical and a utopian ideal of merging art with life, which I find an incredibly valuable contribution.So, the problem I have with this book (and why I'm giving it a 3-star rating instead of a 5-star one) is really with the authour himself. In his life and other work, his justification for pedophilia is beyond disturbing, as is his support for NAMBLA. I find this behaviour unacceptable, and important to condemn (for reasons that I think are obvious, but that I won't go into in this review).I say read the book, take what works (and certainly there are a lot of ideas in here that could work very, very well), read up about the authour and the controversy surrounding him and come to your own conclusions.

Michael Palkowski

This book seems to capture the beat aesthetic at the time which was a combination of delirious romanticism, abstract obstructionism and small medial transgressions of daily life. It's often heralded as being a book of optimism when concerning sabotage with its poetic defiance of power, thwarting the capitalist commodification process, but this is wrong. The book is actually very cynical in it's analysis, taking on situationist forms of cultural jamming, small unfocused acts of destruction and claiming back space as being the only form of resistance possible. From a Marxian perspective this is almost outright nihilism and when you look at its anarcho-primitivist maxims, you realize that civilization and cultural progress is the enemy. It's childish to think that a great form of resistance is defecating in a bank for example. Furthermore in the preface, he is wrong about the atomizing and stultifying nature of the internet and seems to be out of touch here. He is deeply wrong when he analyzes the next great leftist movement as being heavily green with dashes of anti civilization. In effect the entire book is wrong on nearly every single significant point and as a reader you gain nothing of value at all. Even worse these points are expressed using a really bad William Blake and Allen Ginsberg form of imitation that will make anyone over the age of 18 feel physically sick. Bey is a man of ideas as I expressed in my review of "Immediatism", That doesn't mean his ideas are worth very much (see here: https://www.goodreads.com/review/show...)I actually feel embarrassed to own the physical book


Part of the thought cloud that contains the Church of the Subgenius, the Discordians, Fight Club, Flash mobs, Burning Man (prior to the corporate take-over), and Illuminati. This is the seamy underbelly of Western culture and what happened to the hippies that didn't sell out. In many ways the whole thing is a bizarre parody of/homage to the catch-phrase spouting dialectic of the Cold War idealists, in that jargon and obscure claims of repression replace any sort of intelligent discourse; except this guy is serious. Why am I reading it? I was hoping for something more akin to the Anarchy exemplified in Spain just prior to the Spanish Civil War. Why do I keep reading it? Well, I'm stubborn, and I would claim that the list with which I started this review isn't that far removed from my own mish-mash wannabe thought cloud of Maker, Technophile, Mormon, and Jeffersonian Democrat.So, perhaps the best question is why is the book written the way it is? The best answer I can come up with is because he is trying to (to steal a phrase from fandom) "freak the mundanes". Something Robert Anton Wilson would call (cover your kids' eyes, folks) Mindfuck. I think he was more incomprehensible and therefore less effective than other attempts at this process and that is the failing of the book.


I approach this book differently from most readers, because I've known the author since my youthful days as an anarchist punk rocker, because I read parts of it before it was published in this form, and because my own Path (or "Trip") has both paralleled and diverged from his in so many interesting ways. I still see this book as a vital introduction to antinomian thought that also transcends most of the shortcomings of other similar projects. I fall in love with the prose every time. I also see this as an important early articulation of new trends in anarchism that have influenced ideas even among those who regard themselves as being in opposition to Bey.The book consists in three parts. The first is "Chaos: The Broadsheets of Ontological Anarchism." This is the part I had read while still in High School, when it was available in self-published Zine format. It borrows stylistically from the Discordian movement, and therefore is often confused with another post-Discordian experiment, Chaos Magic. But it goes far beyond CM or the largely "safe" Discordianism of Benares, Wilson, et al, and delves into radical territory, celebrating Chaos' liberating potential as well as its destructive power without flinching or letting up. The second section is "Communiques of the Association for Ontological Anarchism," and it may be the best part. Hakim Bey is most talented as short-and-fast propaganda artist, moreso even than as an essayist (he is in no way a writer of "books"). Each of these chapters is a quick kick in the balls of authority, a playground game for adults, or an inspired poem of suggested action. The final section, "the Temporary Autonomous Zone," is theoretically the most significant. TAZ anticipates the move away from "revolutionary" anarchism, which sought to impose freedom on unwitting masses through the use of force to bring down the State, and toward the "insurrectionary" model, which is based on creating freedom here and now in small doses for those with the smarts and the guts to use it. Insurrections are not new, but because they rarely last (are "temporary"), they are often discounted as means of liberation. The TAZ suggests that they can also be fun and creative, not just bloody and ill-conceived.I recommend this to everyone who feels bored by the world - Hakim Bey has the power to make it new and exciting again.

Morgan (Turbo)

This book was really interesting because of its connection to SPAZZ and the Autonomous Mutant Festival (both of which are based on the main conceit of this book). The T.A.Z. is a place in time and place ruled by anarchy. The most obvious example of this phenomonon was pirate towns around the world. I recommend this book if you looking for a political book with not so much political jargon but more poetry and obscure literary references. I only wish it would go into more histories of Autonomous Zones.

Brian Lucas

One of my favorite books--highly funny and entertaining. His examples of how a Temporary Autonomous Zone might be created are prima materia for any culture jammer, Discordian, graffiti-ist, artist or poet. Ontological anarchy is a bit convoluted, but I see what he's trying to do.... This isn't boring old useless anarchist syndicalism, but an anarchism that includes humor, the transcendent (ohhh no!) and reclamation of what is sacred.Funny that Bey gets accused of being a lifestyle anarchist (what's terrible about that? the idea is change yourself first) and an empty hipster, yet condemns this in TAZ itself. Also funny that other reviewers are afraid young people will get a hold of this and be corrupted...how conservative! How moralistic! What a joke!


Temporary Autonomous Zones——or TAZ as they are affectionately called—are forged rather than entered. The surveillance ruins, serving as a reminder of the war, crumble under the center of TAZ. Some ruins are composed out of metabolized programs. The other problem with rules is the instantaneous feature of a strict hierarchy, as anyone familiar with the latest studies has been informed. In TAZ there are sometimes options to get to a point. Activity scallops, repeating important and non-important features, a hallucination of the experiment itself. Appearing alphabetic while afterlife, an upcoming chapter argues for telling the difference. The practice of framing something as something else makes even more distinctions. See the object moving slower than the idea of the object? See the ruins in a straightforward account, once covered with mosaics?As if the event with a positive amplitude cancels an event with a negative amplitude by simply exciting the atom. It is thus the role of the player, those indeterminately witnessing the ruins, to first decide whether to follow or ignore the walkthrough. Additional poems will be made in TAZ. Will the player play backward? Will the player enter the fortress from the position of money or fantasy? Will the player use the hungry avatar to intervene in the reductive doctrine? Is there a feasible yet risky rescue plan? Can the puzzle be solved by repositioning the body?It is in this way that the future is a necessary demagogue to manufacture. Like disorienting memories, ruins ask even more of the people they compute. For example, I work to explain the folly of the refutation of technology. Normally, privately, I wonder if it is a dramatic slip of the pen...Such idealism in TAZ is unavoidable. Upon forging temporary autonomous zones, one can’t help but marvel at the delicate indentations left over from the migratory meteors. Much of the fascination with cultural memory is that its substances in the lower chambers can adhere to any structure, including the witness. The future position and momentum of a particle cannot be known with any certainty because its present conditions cannot be known without ambiguity. While the people attempt to explain these mechanics with the usual artifacts—hypotheses, premises, special prowess of all kinds—they eventually accept the impossibility of measuring the starting atmospheric conditions.A new rule is formed.


http://libcom.org/library/leaving-out...When I first read this, I would have rated it higher. Since then, I've learned a lot more about anarchism and how out of touch Hakim Bey is with social movements. Still, it has some romantic prose that can be very appealing. If I had to describe Bey's writing methodology; it's sort of like someone who name drops at a party--instead Bey drops esoteric concepts to make himself seem both well read (which he seems to be) and wise (which is very debatable). He gets one star after I learned that a lot of his politics are ideological justification for paedophilia.

Therese Tierney

This three-part text is written by the contemporary writer, Hakim Bey, and is unlike any other I've read - highly recommended if you're interested in the internet or the notion of counter-publics. The three sections are titled "Chaos," "Communiques of the Association for Ontology," and "The Temporary Autonomous Zone." The last chapter, "TAZ," is the most articulate of the three. It is an exploration on the subject of media publics, based on networks of affinities, and how they both supersede and transcend today's internet.

Ganglion Bard-barbarian

Hakim Bey is a pedophile, monarchist, anti-abortionist, pro-porn, anti-feminist, orientalist who prefers Fiume to anarchist Ukraine and Catalonia. Thinks anarchists should just become bohemian decadents who don't care about fighting the state. Claims to be an expert on Sufism despite his abject lack of scholastic credentials. Totally worthless. Recommended for New Age fruitcakes.

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