Letter on Harmony and Sacrifice

I’ve been thinking about the riots again lately. It seems to me, sometimes, that the week in which they happened has been compressed, buried somewhere in the distant past, and we’ve all been trapped within its shell. Nothing has happened since then, nothing at all - or rather, everything that has happened has been blind scratchings at the walls of that week, on and on, hurtling further and further back in time. Its a purgatory which I suspect we will only be able to escape from when Margaret Thatcher dies. Can you understand what I’m saying? Actually, I was talking to a friend a couple of days ago about what “understanding” might actually mean. “Understanding”, he said, “is precisely what is incompatible with the bourgeois mind”. For some reason I started thinking about the final scene in Lindsay Anderson’s film If. You know it, of course - everybody does. Malcolm McDowell and his crew are sitting on the roof of the school, firing at all the teachers and parents and other kids, and then in a brief pause, the headmaster steps forward. He thinks he’s such a liberal, you recall. “Boys”, he implores. “boys - I understand you”. Yeh. And so the character played by Christine Noonan - one of the few characters in the film who isn’t a “boy” - she shoots him right in the centre of his forehead. You know what I’m getting at - that bullet is his understanding, plain and simple, tho I’m not quite clear just how incompatible it is with the headmaster’s presumably bourgeois sense of beauty, love and imagination, or indeed his understanding, ultimately, of himself and of everything else - including his killer. A killer who is identified only as “the girl” in the cast list, even tho she’s obviously the central figure in the film. Anyway, I’m getting off the point: Margaret Thatcher, and her strange relationship with the combined central nervous systems of all of the people who were picked up in the weeks following the riots, around 3000 of them. It is, of course, a very tricky equation, and has to take into consideration all of the highly complex interactions between the cosmological circuit of the entire history of the city (as perimeter) with the controlled circle of each of the riot prisoner’s skulls (at the centre). There are those who say Thatcher is just a frail old woman and we shouldn’t pick on her. I prefer to think of her as a temporal seizure whose magnetosphere may well be growing more unstable and unpredictable, and so demonstrably more cruel, but whose radio signature is by no means showing any signs of decreasing in intensity any time soon. They can hear it on fucking Saturn. The paradox being, of course, that Thatcher herself sits far outside any cluster of understanding the bourgeois mind could possibly take into account. But in any case, its clear to me the heroes of Lindsay Anderson’s If, had they lived, would have ended up as minor members of the Thatcher Cabinet, or at least as backbench Tory MPs. But we don’t know whether or not they do live: the film freezes on McDowell, sliding down the school roof, blasting away, his face not quite fearful, not quite anything. Then silence. Just like the riots, they stay where they are, and so does everything else, fixed into that single, fearful second. According to some cosmological systems, and ones not so far removed from our own as we would maybe imagine, when anyone dies - be that Margaret Thatcher or Mark Duggan - they take their place among what are called the “invisibles”, traditionally opening up a gap in social time, a system of antimatter in which nobody can live, but from which new understandings and arrangements of social harmony may be imagined. Music, for example. Or the killing of a “king”, etc. But while I’d like that to be true, its essentially hymn-singing, a benevolent glister on the anticyclonic storms of business-as-usual rotating counterclockwise at ever increasing speeds into the past and into the future. I take those “invisibles” as being not too dissimilar to so-called “undesirables”, all those refugees banged up in the various holding cells that cluster in rings outside airports and cities etc. That is, objects of human sacrifice which vicious and simplistic systems use to sustain a sinister and invisible harmony where everything spins on its own specified orbit and everything remains in its preordained place; everything that is except the ever increasing density of suffering, as pressure increases and one by one we vanish into some foul and unlikely parallel dimension. You know, like a government building or something. A cathedral, for example. Or a medieval jail. Or a Heckler & Koch MP5 (Police Issue). Anyway, I’m rambling now. I know full well that none of the above is likely to help us to understand, or break out of, or even enter, the intense surges of radio emissions we’re trapped inside. Cyclones and anticyclones. Like, I’m certainly not proposing Thatcher as a counter-sacrifice, however tempting and, in the short term, satisfying that may be. It would be impossible: every Daily Mail reader would understand exactly what we were doing. Its horrible. I feel like its gonna be the 6th August 2011 for ever. Christ, for all I know its still 13th October 1925. The estimated costs of the August Riots were around £100 million. You can get 46 rounds of the ammunition that killed Mark Duggan for 15 dollars and 99 cents. On Amazon. For the police its probably far cheaper, and right now that's the clearest definition of harmony I can get to. Happy new year.

Fragment: On Harmony

Sorry / I wasn’t talking to you
but factory rhythms / your mouths
are not unbroken infernos
inside your personal numbers
in each of those numbers a starling
in each of its beaks a startled knife
sorry / we are not that knife
on the city’s outer circuit / frugal
& unbroken. This sentence was never
declared & is a used surface, a
geiger trap or love’s blunted blade
well screw that & the point of our face
is they screwed it shut. Things grow
The perimeter scratches are fearsome

ie the sentence was never declared but punctured, and the rings of the city are sharp metronomic traps, all of them stored in (1) the villages we burned (2) the impact sphere of (number) rubber bullets and feral longitudes all occupied by your local jobcentre, which of course its clients understand as, at best (3) Alan Sugar screeching in utter fear . . . .

Four Letters / Four Comments

"Reality must become polemical before we (the enemy) are jolted from our complacency" - Danny Hayward.

Four letters first published by Bonney between June and August 2011 at Abandoned Buildings, followed by speculative remarks on the letters from Jennifer Cooke, Pocahontis Mildew, Danny Hayward and Lara Buckerton. Two color letterpress (silver and black) on black Stonehenge paper wraps. Hand stitched.

Second Letter on Harmony

OK lets try again. Though bear in mind, this is gonna be naive as all hell. I mean, I haven’t done the requisite study, of what harmony is and what it has been etc. What I can gather, from a careful reading of some of Lenin’s Notes on Hegel - he’s got something in there about the Pythagorean harmony of the spheres proposing a perfect cosmology, a hierarchy built on scalar realities that justifies social conditions on earth, where everybody is in their place, and nobody is able to question the beauty and perfection of these relationships. Straightforward. And for it to work, for all these justifications to hold true, a fictional body is essential: the antichthon, or counter-earth. Thus, at the limit, the gravitational pull that holds the entire system of hierarchical harmony together is an untruth, but an untruth with the power to kill. But if this untruth is the site of justification and corporate (ie ritual) slaughter it’s also the site, magnetic as all hell, of contention and repulsion, which can transgress its own limits until something quite different, namely, crime, or impossibility, appears. For Ernst Bloch, the revolution was the crossroads where the dead come to meet. For Lorca, music was the scream of dead generations - the language of the dead. But our system of harmony knows so well it contains its own negation that it has mummified it, and while we know we live within a criminal harmony, we also know we are held helplessly within it as fixed subjects, or rather as objects, even cadavers, of an alien music. But never mind, just as protest is useless only because it stays within the limits of the already known, so the hidden harmony is better than the obvious. Heraclitus. Music as a slicing through of harmonic hierarchies etc, poetic realities as counter-earths where we can propose a new stance in which we can see and act on what had previously been kept invisible etc. Ourselves, for one thing. That sounds just great, absolutely tip fucking top, until you remember that, equally, the harmony of the money fetish is that of the commodity fetish only now become visible and dazzling to our eyes, ie we don’t have any kind of monopoly on harmonic invisibility, and all of those occultist systems that some of us still love so much have always been bourgeois through and through. That is, its not a question of gentrification, but that the whole process has always started from the invisible spot where your feet are, tapping whatever fetishised rhythms right into the star encrusted ground. That famous green door with its sign “no admittance except on business”. That is, however much we may claim that it is not protest, but a fast alteration in the structural scansion at the city’s core, the hidden contours of our songs are still a nasty little rich kid fluttering his hecatombic chromosomes all over our collective history. Shit. Its why I still hate Mojo magazine. OK. Now lets get really obvious. Once, revolutions took their poetry from the past, now they have to get it from the future. We all know that. Famous and so on. In its contemporary form, the slogan Greek anarchists were using a couple of winters ago: we are smashing up the present because we come from the future. I love that, but really, it’s all just so much mysticism: but if we can turn it inside out, on its head etc we’ll find this, for example: “the repeated rhythmic figure, a screamed riff, pushed its insistence past music. It was hatred and frustration, secrecy and despair . . . . That stance spread like fire thru the cabarets and the joints of the black cities, so that the sound itself became a basis for thought, and the innovators searched for uglier modes”. That's Amiri Baraka, a short story called “The Screamers” from 1965 or something like that. That is, metallic, musical screeches as systems of thought pushing away from, and through, the imposed limits of the conventional harmonic or social systems, thus clearing some ground from where we can offer counter-proposals. Slogans. The battle-cries of the dead. Tho, obviously, Pizza Express and the Poetry Cafe have done as much as is in their power to neutralise any truth content that might be lurking within that possibility. On September 30th 1965, Pharoah Sanders, McCoy Tyner, Donald Rafael Garrett, Jimmy Garrison, Elvin Jones and John Coltrane recorded the album “Live in Seatle”: it is, according to someone quoted on Wikipedia, “not for those who prefer jazz as melodic background music”. Its one of those examples of recorded music that still sounds absolutely present years after the fact, because it was one of the sonic receptacles of a revolutionary moment that was never realised: that is, it has become a Benjaminian monad, a cluster of still unused energies that still retain the chance of exploding into the present. Play it loud in the Walthamstow shopping mall and you’ll see what I mean. Yeh yeh yeh. I’m thinking about a specific moment on the album, around thirteen minutes into “Evolution”, when someone - I don’t think its actually Coltrane - blows something through a horn that forces a dimensional time-loop through the already seismic constellations set up within the music’s harmonic system, becoming a force that moves beyond any musical utterance, while still containing direct, clear communication at its centre: ie fire and death on your uptight ass. Among many other things, obviously. I guess Seattle, like anywhere else, is sealed up in its gentrification by now. But anyway, that horn sounds like a metal bone, a place where the dead and future generations meet up and are all on blue, electric fire. CLR James once said that “the violent conflicts of our age enable our practised vision to see into the very bones of previous revolutions more easily than before”. Go figure. Due to its position in the Pacific Ring of Fire, Seattle is in a major earthquake zone. On November 30th 1999 Seattle WTO protests included direct and rational attacks on, among other things, the Bank of America, Banana Republic, the Gap, Washington Mutual Bank, Starbucks, Planet Hollywood etc etc etc. “Cosmos”. “Out of this World”. “Body and Soul”, you get what I mean. Two years later, in Genoa, the anarchist Carlo Giuliani got a police bullet in the centre of his face. Remember that name. Capital’s untruth, its site of corporate slaughter - ie ritual slaughter - the silent frequency at the centre of its oh so gentle melodies. Ah, I can’t see to finish this, I’ve had a lot of valium today. But anyway, to put it simply, the purpose of song is not only to raise the living standards of the working class, but to prevent the ruling class from living in the way that they have been. The violent conflicts of our age make it impossible to recollect musical emotions in tranquility, unless it is the kind of tranquility that makes clear the fierce shrill turmoil of the revolutionary movement striving for clarity and influence. A high metallic wire etc. The counter-earth rigged to such sonic stroboscopics that we, however temporarily, become the irruption into present time of the screams of the bones of history, tearing into the mind of the listener, unambiguously determining a new stance toward reality, a new ground outside of official harmony, from which to act. Or put it another way, next time some jazz fan tells you that late Coltrane is unlistenable, or something, punch em in the face. Seven times. More later.

First Letter on Harmony

Somewhere in London there is a judge who, every seven days, pays a prostitute to re-enact the crimes of those he has sentenced that week, while he looks on and masturbates. Sorry, I've been trying and I just can't get that sentence right. I read about it this morning on Facebook and, you know, it kind of made me want to puke into my cornflakes. Its annoying, I was hoping to make some progress on the thoughts I’ve been developing on the Pythagorean system of harmonics, and how it relies on a consciously fictional central point in order to keep its symmetrical force stable. There’s a passage on it in Lenin’s Collected (Vol 38), and I think it might be helpful, tho for what I’m not quite sure. But anyway, I couldn’t stop thinking about this judge. And then I started thinking, well, what if - and sure its a pretty big if - but what if he was producing these emissions quite deliberately, as the source of a central vibration through which the judiciary could impose a new and extremely rigid analysis of the city, within which a sterile atmosphere could be maintained for the propagation of a limited number of official sentences (say, for example, seven) from which all possible thought could be derived. Sex magic, yeh. All of that ludicrous shit. Don’t think I’m turning into one of those wankers in David Icke masks: in terms of creation myths its a fairly traditional narrative structure. What this judge probably doesn’t realise, however, is that each of his particle jets will necessarily invoke an adjunct sentence, which while in its weak form may only be manifest in certain cries of disbelief and fear, in extreme conditions may - and that's a very big “may” - may ultimately manifest as a ring of antiprotons, otherwise known as attack dogs. Hackney, for example. These attack dogs are stable, but they are typically short-lived since any collision with an official sentence will cause both of them to be annihilated in a brief but highly intense burst of energy. In other words: buy a gun, learn to shoot it, get a rudimentary job in the high court, and then do some very simple equations. Hope you’re well, by the way. The sky over London is milky and foul.

On Harmony

Commons //// Happiness //// out now etc

available here

The work was originally subtitled "A Narrative / Diagram of the Class Struggle", wherein voices from contemporary uprisings blend into the Paris Commune, into October 1917, into the execution of Charles 1, and on into superstitions, fantasies of crazed fairies and supernatural bandits //// all clambering up from their hidden places in history, getting ready to storm the Cities of the Rich //// to the bourgeois eye they may look like zombies, to us they are sparrows, cuckoos, pirates & sirens //// the cracked melodies of ancient folk songs, cracking the windows of Piccadilly //// or, as a contemporary Greek proverb has it, "smashing up the present because they come from the future".


launched at 7pm, Oct 6th, The Blue Posts, Rupert St, Soho alongside Ray Challinor's The Struggle for Hearts and Minds - Essays on the Second World War. Further info here

It is impossible to fully grasp Rimbaud’s work, and especially Une Saison en Enfer, if you have not studied through and understood the whole of Marx’s Capital. And this is why no English speaking poet has ever understood Rimbaud. Poetry is stupid, but then again, stupidity is not the absence of intellectual ability but rather the scar of its mutilation.

Rimbaud hammered out his poetic programme in 1871, just as the Paris Commune was being blown off the map. He wanted to be there. It’s all he talked about. The “systematic derangement of the senses” is the social senses, ok, and the “I” becomes an “other” as in the transformation of the individual into the collective when it all kicks off. It’s only in the English speaking world you have to point simple shit like that out. But then again, these poems have NOTHING TO DO WITH RIMBAUD. If you think they’re translations you’re an idiot. In the enemy language it is necessary to lie.