"money that is thrown into circulation as capital without any material basis in commodities or productive activity" - David Harvey, in The Limits to Capital, on Marx's notion of fictitious capital
(via; see also)
21 avril 2010
Fictitious Capital / Borrowed time
(via; see also)
05 avril 2010
Collateral Murder
Collateral Murder
Overview
5th April 2010 10:44 EST WikiLeaks has released a classified US military video depicting the indiscriminate slaying of over a dozen people in the Iraqi suburb of New Baghdad -- including two Reuters news staff.
Reuters has been trying to obtain the video through the Freedom of Information Act, without success since the time of the attack. The video, shot from an Apache helicopter gun-site, clearly shows the unprovoked slaying of a wounded Reuters employee and his rescuers. Two young children involved in the rescue were also seriously wounded.
The military did not reveal how the Reuters staff were killed, and stated that they did not know how the children were injured.
After demands by Reuters, the incident was investigated and the U.S. military concluded that the actions of the soldiers were in accordance with the law of armed conflict and its own "Rules of Engagement".
Consequently, WikiLeaks has released the classified Rules of Engagement for 2006, 2007 and 2008, revealing these rules before, during, and after the killings.
WikiLeaks has released both the original 38 minutes video and a shorter version with an initial analysis. Subtitles have been added to both versions from the radio transmissions.
WikiLeaks obtained this video as well as supporting documents from a number of military whistleblowers. WikiLeaks goes to great lengths to verify the authenticity of the information it receives. We have analyzed the information about this incident from a variety of source material. We have spoken to witnesses and journalists directly involved in the incident.
WikiLeaks wants to ensure that all the leaked information it receives gets the attention it deserves. In this particular case, some of the people killed were journalists that were simply doing their jobs: putting their lives at risk in order to report on war. Iraq is a very dangerous place for journalists: from 2003- 2009, 139 journalists were killed while doing their work.
- Collateral Murder
20 février 2010
14 février 2010
To Those Who Follow in Our Wake / An die Nachgeborenen
I
Wirklich, ich lebe in finsteren Zeiten!
Das arglose Wort ist töricht. Eine glatte Stirn
Deutet auf Unempfindlichkeit hin. Der Lachende
Hat die furchtbare Nachricht
Nur noch nicht empfangen.
Was sind das für Zeiten, wo
Ein Gespräch über Bäume fast ein Verbrechen ist
Weil es ein Schweigen über so viele Untaten einschließt!
Der dort ruhig über die Straße geht
Ist wohl nicht mehr erreichbar für seine Freunde
Die in Not sind?
Es ist wahr: Ich verdiene nur noch meinen Unterhalt
Aber glaubt mir: das ist nur ein Zufall. Nichts
Von dem, was ich tue, berechtigt mich dazu, mich sattzuessen.
Zufällig bin ich verschont. (Wenn mein Glück aussetzt, bin ich verloren.)
Man sagt mir: Iß und trink du! Sei froh, daß du hast!
Aber wie kann ich essen und trinken, wenn
Ich dem Hungernden entreiße, was ich esse, und
Mein Glas Wasser einem Verdursteten fehlt?
Und doch esse und trinke ich.
Ich wäre gerne auch weise.
In den alten Büchern steht, was weise ist:
Sich aus dem Streit der Welt halten und die kurze Zeit
Ohne Furcht verbringen
Auch ohne Gewalt auskommen
Böses mit Gutem vergelten
Seine Wünsche nicht erfüllen, sondern vergessen
Gilt für weise.
Alles das kann ich nicht:
Wirklich, ich lebe in finsteren Zeiten!
II
In die Städte kam ich zur Zeit der Unordnung
Als da Hunger herrschte.
Unter die Menschen kam ich zu der Zeit des Aufruhrs
Und ich empörte mich mit ihnen.
So verging meine Zeit
Die auf Erden mir gegeben war.
Mein Essen aß ich zwischen den Schlachten
Schlafen legte ich mich unter die Mörder
Der Liebe pflegte ich achtlos
Und die Natur sah ich ohne Geduld.
So verging meine Zeit
Die auf Erden mir gegeben war.
Die Straßen führten in den Sumpf zu meiner Zeit.
Die Sprache verriet mich dem Schlächter.
Ich vermochte nur wenig. Aber die Herrschenden
Saßen ohne mich sicherer, das hoffte ich.
So verging meine Zeit
Die auf Erden mir gegeben war.
Die Kräfte waren gering. Das Ziel
Lag in großer Ferne
Es war deutlich sichtbar, wenn auch für mich
Kaum zu erreichen.
So verging meine Zeit
Die auf Erden mir gegeben war.
III
Ihr, die ihr auftauchen werdet aus der Flut
In der wir untergegangen sind
Gedenkt
Wenn ihr von unseren Schwächen sprecht
Auch der finsteren Zeit
Der ihr entronnen seid.
Gingen wir doch, öfter als die Schuhe die Länder wechselnd
Durch die Kriege der Klassen, verzweifelt
Wenn da nur Unrecht war und keine Empörung.
Dabei wissen wir doch:
Auch der Hass gegen die Niedrigkeit
Verzerrt die Züge.
Auch der Zorn über das Unrecht
Macht die Stimme heiser. Ach, wir
Die wir den Boden bereiten wollten für Freundlichkeit
Konnten selber nicht freundlich sein.
Ihr aber, wenn es soweit sein wird
Dass der Mensch dem Menschen ein Helfer ist
Gedenkt unsrer
Mit Nachsicht.
I
Truly, I live in dark times!
An artless word is foolish. A smooth forehead
Points to insensitivity. He who laughs
Has not yet received
The terrible news.
What times are these, in which
A conversation about trees is almost a crime
For in doing so we maintain our silence about so much wrongdoing!
And he who walks quietly across the street,
Passes out of the reach of his friends
Who are in danger?
It is true: I work for a living
But, believe me, that is a coincidence. Nothing
That I do gives me the right to eat my fill.
By chance I have been spared. (If my luck does not hold, I am lost.)
They tell me: eat and drink. Be glad to be among the haves!
But how can I eat and drink
When I take what I eat from the starving
And those who thirst do not have my glass of water?
And yet I eat and drink.
I would happily be wise.
The old books teach us what wisdom is:
To retreat from the strife of the world
To live out the brief time that is your lot
Without fear
To make your way without violence
To repay evil with good –
The wise do not seek to satisfy their desires,
But to forget them.
But I cannot heed this:
Truly I live in dark times!
II
I came into the cities in a time of disorder
As hunger reigned.
I came among men in a time of turmoil
And I rose up with them.
And so passed
The time given to me on earth.
I ate my food between slaughters.
I laid down to sleep among murderers.
I tended to love with abandon.
I looked upon nature with impatience.
And so passed
The time given to me on earth.
In my time streets led into a swamp.
My language betrayed me to the slaughterer.
There was little I could do. But without me
The rulers sat more securely, or so I hoped.
And so passed
The time given to me on earth.
The powers were so limited. The goal
Lay far in the distance
It could clearly be seen although even I
Could hardly hope to reach it.
And so passed
The time given to me on earth.
III
You, who shall resurface following the flood
In which we have perished,
Contemplate –
When you speak of our weaknesses,
Also the dark time
That you have escaped.
For we went forth, changing our country more frequently than our shoes
Through the class warfare, despairing
That there was only injustice and no outrage.
And yet we knew:
Even the hatred of squalor
Distorts one’s features.
Even anger against injustice
Makes the voice grow hoarse. We
Who wished to lay the foundation for gentleness
Could not ourselves be gentle.
But you, when at last the time comes
That man can aid his fellow man,
Should think upon us
With leniency.
–Bertolt Brecht, An die Nachgeborenen first published in Svendborger Gedichte (1939) in: Gesammelte Werke, vol. 4, pp. 722-25 (1967)(translation by Scott Horton, available here [via The Hat])
Wirklich, ich lebe in finsteren Zeiten!
Das arglose Wort ist töricht. Eine glatte Stirn
Deutet auf Unempfindlichkeit hin. Der Lachende
Hat die furchtbare Nachricht
Nur noch nicht empfangen.
Was sind das für Zeiten, wo
Ein Gespräch über Bäume fast ein Verbrechen ist
Weil es ein Schweigen über so viele Untaten einschließt!
Der dort ruhig über die Straße geht
Ist wohl nicht mehr erreichbar für seine Freunde
Die in Not sind?
Es ist wahr: Ich verdiene nur noch meinen Unterhalt
Aber glaubt mir: das ist nur ein Zufall. Nichts
Von dem, was ich tue, berechtigt mich dazu, mich sattzuessen.
Zufällig bin ich verschont. (Wenn mein Glück aussetzt, bin ich verloren.)
Man sagt mir: Iß und trink du! Sei froh, daß du hast!
Aber wie kann ich essen und trinken, wenn
Ich dem Hungernden entreiße, was ich esse, und
Mein Glas Wasser einem Verdursteten fehlt?
Und doch esse und trinke ich.
Ich wäre gerne auch weise.
In den alten Büchern steht, was weise ist:
Sich aus dem Streit der Welt halten und die kurze Zeit
Ohne Furcht verbringen
Auch ohne Gewalt auskommen
Böses mit Gutem vergelten
Seine Wünsche nicht erfüllen, sondern vergessen
Gilt für weise.
Alles das kann ich nicht:
Wirklich, ich lebe in finsteren Zeiten!
II
In die Städte kam ich zur Zeit der Unordnung
Als da Hunger herrschte.
Unter die Menschen kam ich zu der Zeit des Aufruhrs
Und ich empörte mich mit ihnen.
So verging meine Zeit
Die auf Erden mir gegeben war.
Mein Essen aß ich zwischen den Schlachten
Schlafen legte ich mich unter die Mörder
Der Liebe pflegte ich achtlos
Und die Natur sah ich ohne Geduld.
So verging meine Zeit
Die auf Erden mir gegeben war.
Die Straßen führten in den Sumpf zu meiner Zeit.
Die Sprache verriet mich dem Schlächter.
Ich vermochte nur wenig. Aber die Herrschenden
Saßen ohne mich sicherer, das hoffte ich.
So verging meine Zeit
Die auf Erden mir gegeben war.
Die Kräfte waren gering. Das Ziel
Lag in großer Ferne
Es war deutlich sichtbar, wenn auch für mich
Kaum zu erreichen.
So verging meine Zeit
Die auf Erden mir gegeben war.
III
Ihr, die ihr auftauchen werdet aus der Flut
In der wir untergegangen sind
Gedenkt
Wenn ihr von unseren Schwächen sprecht
Auch der finsteren Zeit
Der ihr entronnen seid.
Gingen wir doch, öfter als die Schuhe die Länder wechselnd
Durch die Kriege der Klassen, verzweifelt
Wenn da nur Unrecht war und keine Empörung.
Dabei wissen wir doch:
Auch der Hass gegen die Niedrigkeit
Verzerrt die Züge.
Auch der Zorn über das Unrecht
Macht die Stimme heiser. Ach, wir
Die wir den Boden bereiten wollten für Freundlichkeit
Konnten selber nicht freundlich sein.
Ihr aber, wenn es soweit sein wird
Dass der Mensch dem Menschen ein Helfer ist
Gedenkt unsrer
Mit Nachsicht.
I
Truly, I live in dark times!
An artless word is foolish. A smooth forehead
Points to insensitivity. He who laughs
Has not yet received
The terrible news.
What times are these, in which
A conversation about trees is almost a crime
For in doing so we maintain our silence about so much wrongdoing!
And he who walks quietly across the street,
Passes out of the reach of his friends
Who are in danger?
It is true: I work for a living
But, believe me, that is a coincidence. Nothing
That I do gives me the right to eat my fill.
By chance I have been spared. (If my luck does not hold, I am lost.)
They tell me: eat and drink. Be glad to be among the haves!
But how can I eat and drink
When I take what I eat from the starving
And those who thirst do not have my glass of water?
And yet I eat and drink.
I would happily be wise.
The old books teach us what wisdom is:
To retreat from the strife of the world
To live out the brief time that is your lot
Without fear
To make your way without violence
To repay evil with good –
The wise do not seek to satisfy their desires,
But to forget them.
But I cannot heed this:
Truly I live in dark times!
II
I came into the cities in a time of disorder
As hunger reigned.
I came among men in a time of turmoil
And I rose up with them.
And so passed
The time given to me on earth.
I ate my food between slaughters.
I laid down to sleep among murderers.
I tended to love with abandon.
I looked upon nature with impatience.
And so passed
The time given to me on earth.
In my time streets led into a swamp.
My language betrayed me to the slaughterer.
There was little I could do. But without me
The rulers sat more securely, or so I hoped.
And so passed
The time given to me on earth.
The powers were so limited. The goal
Lay far in the distance
It could clearly be seen although even I
Could hardly hope to reach it.
And so passed
The time given to me on earth.
III
You, who shall resurface following the flood
In which we have perished,
Contemplate –
When you speak of our weaknesses,
Also the dark time
That you have escaped.
For we went forth, changing our country more frequently than our shoes
Through the class warfare, despairing
That there was only injustice and no outrage.
And yet we knew:
Even the hatred of squalor
Distorts one’s features.
Even anger against injustice
Makes the voice grow hoarse. We
Who wished to lay the foundation for gentleness
Could not ourselves be gentle.
But you, when at last the time comes
That man can aid his fellow man,
Should think upon us
With leniency.
–Bertolt Brecht, An die Nachgeborenen first published in Svendborger Gedichte (1939) in: Gesammelte Werke, vol. 4, pp. 722-25 (1967)(translation by Scott Horton, available here [via The Hat])
12 février 2010
02 février 2010
15 janvier 2010
"All these batons might form, together, another human raft."
Carbonised bodies face-down in the nuclear wasteland
all the Buddhas died,
and never heard what killed them.
Tsutomu Yamaguchi, a double nuclear survivor, died on January 6th, aged 93
03 janvier 2010
the real economy
"10) "Shuttin' Detroit Down" John Rich. On matter of national crisis and national shame, as usual, country shoots first. That doesn't mean one likes the aim (cf. Keith comma Toby), but there's something remarkable about how quick is the draw. In mid-November of 2008, the CEOs of Chrysler and GM arrived in Washington to request bailout money — in private jets. By January, the dwarfier half of Big & Rich had recorded this song. The chord progression's pretty prêt-a-porter, but it's hard not to be captivated by a song that draws its lexicon equally from talk radio (Wall Street vs. Main Street, etc) and from political economy, from whence it conjures with impressive clarity the distance between "the real economy" and finance: "pardon me if I don't shed a tear," runs the leadup to the chorus, "they're selling make-believe, and we don't buy that here." It's a wonder he doesn't mention fictitious capital. And then the chorus:
Cause in the real world they're shuttin' Detroit down
While the bossman takes his bonus pay and jets on outta town
DC's bailin' out them bankers as the farmers auction ground
Yeah while they're livin' it up on Wall Street in the New York City town,
Here in the real world they're shuttin' Detroit down.
...and then it goes into the specifics of retirement accounts! Equally remarkable for its subtlety and strangeness is the transfer that goes on almost unannounced, wherein the "real economy" is equated with the farmer who works the land — a core assumption of the genre, one might say — against the fancies of New York City bankers, but the opposite of Manhattan turns out to be not some agricultural scene, rather Motown. These places turn out to be fully swappable, because they are both the negative of fictitious capital. It's like he totally gets it about where value comes from. I mean really."
- jane dark
[watch this video:]
31 décembre 2009
A Year in Cinema, 2009
The best films I saw for the first time in 2009, in rough order of preference:
Up (Pete Docter and Bob Peterson, 2009)
To Catch a Thief (Alfred Hitchcock, 1955)
Two Lovers (James Gray, 2008)
Eccentricities of a Blonde-haired Girl (Manoel de Oliveira, 2009)
Che (The Argentine and Guerrilla) (Steven Soderbergh, 2008)
Our Daily Bread (King Vidor, 1934)
Inextinguishable Fire (Harun Farocki, 1967)
The Last Days of Disco (Whit Stillman, 1998)
Canary (Alejandro Adams, 2009)
Summertime (David Lean, 1955)
Itinéraire de Jean Bricard (Danièle Huillet and Jean-Marie Straub, 2008)
Their Newspapers (Harun Farocki, 1968)
Frontier of Dawn (Philippe Garrel, 2008)
Le Garcu (Maurice Pialat, 1995)
Scenes from the Class Struggle in Portugal (Robert Kramer, 1977)
Inglourious Basterds (Quentin Tarantino, 2009)
They Live By Night (Nicholas Ray, 1948)
Touched in Head (Jacques Doillon, 1974)
Chronicle of Anna Magdalena Bach (Danièle Huillet and Jean-Marie Straub, 1968)
Man's Castle (Frank Borzage, 1933)
Smorgasbord / Cracking Up (Jerry Lewis, 1983)
L'intrus (Claire Denis, 2004)
Um Filme Falado (A Talking Picture) (Manoel de Oliveira, 2003)
The Shining (Stanley Kubrick, 1980)
Silent Light (Carlos Reygadas, 2007)
Imitation of Life (Douglas Sirk, 1959)
Stalker (Andrei Tarkovsky, 1979)
Videograms of a Revolution (Harun Farocki, 1992)
Moses and Aaron (Jean-Marie Straub and Danièle Huillet, 1973)
The Docks of New York (Josef von Sternberg, 1928)
Ishtar (Elaine May, 1987)
Liverpool (Lisandro Alonso, 2008)
An American Tragedy (Josef von Sternberg, 1931)
Ne change rien (Pedro Costa, 2009)
Prison Images (Harun Farocki, 2000)
Rendez-vous de Juillet (Jacques Becker, 1949)
Dead End (William Wyler, 1937)
The Exploding Girl (Bradley Rust Gray, 2009)
The Mad Songs of Fernanda Hussein (John Gianvito, 2001)
In Comparison (Harun Farocki, 2009)
The Savage Innocents (Nicholas Ray, 1960)
Black Fury (Michael Curtiz, 1935)
Cassandra's Dream (Woody Allen, 2007)
Forgetting Sarah Marshall (Nicholas Stoller, 2008)
Images of the World and the Inscription of War (Harun Farocki, 1988)
Broken Embraces (Pedro Almodovar, 2009)
The Inglorious Bastards (Enzo G. Castellari, 1978)
Respite (Harun Farocki, 2007)
Superbad (Greg Mottola, 2007)
An Image (Harun Farocki, 1983)
Beeswax (Andrew Bujalski, 2009)
El cant dels ocells (Albert Serra, 2008)
American Madness (Frank Capra, 1932)
Harry Potter and the Half-Blood Prince (David Yates, 2009)
Star Wars: The Phantom Menace Review (Red Letter Media, 2009)
Nathalie Granger (Marguerite Duras, 1972)
The Fly (David Cronenberg, 1986)
The Danish Poet (Torill Kove, 2006)
Extreme Private Eros: Love Song 1974 (Hara Kazuo, 1974)
Impolex (Alex Ross Perry, 2009)
Bluebeard (Catherine Breillat, 2009)
Nick and Nora's Infinite Playlist (Peter Sollett, 2008)
Unas fotos en la ciudad de Sylvia (Jose Luis Guerin, 2007)
Cours du soir (Nicolas Ribowski, 1967)
One P.M. (Jean-Luc Godard and D.A. Pennebaker, 1972)
Maneater (Timothy Busfield, 2009)
7 Women (John Ford, 1966)
In The Country (Robert Kramer, 1966)
Let's Get Started (Azazel Jacobs, 2008)
The Whirled (Ken Jacobs, 1956 - 1963 / 2004)
Little Miss Sunshine (Jonathan Dayton and Valerie Faris, 2006)
Black Legion (Archie Mayo, 1937)
Night Nurse (William A. Wellman, 1931)
Crawford (David Modigliani, 2008)
Wall Street (Oliver Stone, 1987)
No Greater Glory (Frank Borzage, 1934)
Medicine for Melancholy (Barry Jenkins, 2008)
The Taste of Life (Harun Farocki, 1979)
Network (Sidney Lumet, 1976)
The Pleasures of the Flesh (Oshima, 1965)
You Won't Miss Me (Ry Russo Young, 2009)
Eros Plus Massacre (Yoshida Yoshishige, 1969)
Three on a Match (Mervyn LeRoy, 1932)
Trash Humpers (Harmony Korine, 2009)
Don't Let Me Drown (Cruz Angeles, 2009)
I'm No Angel (Wesley Ruggles, 1933)
Up (Pete Docter and Bob Peterson, 2009)
To Catch a Thief (Alfred Hitchcock, 1955)
Two Lovers (James Gray, 2008)
Eccentricities of a Blonde-haired Girl (Manoel de Oliveira, 2009)
Che (The Argentine and Guerrilla) (Steven Soderbergh, 2008)
Our Daily Bread (King Vidor, 1934)
Inextinguishable Fire (Harun Farocki, 1967)
The Last Days of Disco (Whit Stillman, 1998)
Canary (Alejandro Adams, 2009)
Summertime (David Lean, 1955)
Itinéraire de Jean Bricard (Danièle Huillet and Jean-Marie Straub, 2008)
Their Newspapers (Harun Farocki, 1968)
Frontier of Dawn (Philippe Garrel, 2008)
Le Garcu (Maurice Pialat, 1995)
Scenes from the Class Struggle in Portugal (Robert Kramer, 1977)
Inglourious Basterds (Quentin Tarantino, 2009)
They Live By Night (Nicholas Ray, 1948)
Touched in Head (Jacques Doillon, 1974)
Chronicle of Anna Magdalena Bach (Danièle Huillet and Jean-Marie Straub, 1968)
Man's Castle (Frank Borzage, 1933)
Smorgasbord / Cracking Up (Jerry Lewis, 1983)
L'intrus (Claire Denis, 2004)
Um Filme Falado (A Talking Picture) (Manoel de Oliveira, 2003)
The Shining (Stanley Kubrick, 1980)
Silent Light (Carlos Reygadas, 2007)
Imitation of Life (Douglas Sirk, 1959)
Stalker (Andrei Tarkovsky, 1979)
Videograms of a Revolution (Harun Farocki, 1992)
Moses and Aaron (Jean-Marie Straub and Danièle Huillet, 1973)
The Docks of New York (Josef von Sternberg, 1928)
Ishtar (Elaine May, 1987)
Liverpool (Lisandro Alonso, 2008)
An American Tragedy (Josef von Sternberg, 1931)
Ne change rien (Pedro Costa, 2009)
Prison Images (Harun Farocki, 2000)
Rendez-vous de Juillet (Jacques Becker, 1949)
Dead End (William Wyler, 1937)
The Exploding Girl (Bradley Rust Gray, 2009)
The Mad Songs of Fernanda Hussein (John Gianvito, 2001)
In Comparison (Harun Farocki, 2009)
The Savage Innocents (Nicholas Ray, 1960)
Black Fury (Michael Curtiz, 1935)
Cassandra's Dream (Woody Allen, 2007)
Forgetting Sarah Marshall (Nicholas Stoller, 2008)
Images of the World and the Inscription of War (Harun Farocki, 1988)
Broken Embraces (Pedro Almodovar, 2009)
The Inglorious Bastards (Enzo G. Castellari, 1978)
Respite (Harun Farocki, 2007)
Superbad (Greg Mottola, 2007)
An Image (Harun Farocki, 1983)
Beeswax (Andrew Bujalski, 2009)
El cant dels ocells (Albert Serra, 2008)
American Madness (Frank Capra, 1932)
Harry Potter and the Half-Blood Prince (David Yates, 2009)
Star Wars: The Phantom Menace Review (Red Letter Media, 2009)
Nathalie Granger (Marguerite Duras, 1972)
The Fly (David Cronenberg, 1986)
The Danish Poet (Torill Kove, 2006)
Extreme Private Eros: Love Song 1974 (Hara Kazuo, 1974)
Impolex (Alex Ross Perry, 2009)
Bluebeard (Catherine Breillat, 2009)
Nick and Nora's Infinite Playlist (Peter Sollett, 2008)
Unas fotos en la ciudad de Sylvia (Jose Luis Guerin, 2007)
Cours du soir (Nicolas Ribowski, 1967)
One P.M. (Jean-Luc Godard and D.A. Pennebaker, 1972)
Maneater (Timothy Busfield, 2009)
7 Women (John Ford, 1966)
In The Country (Robert Kramer, 1966)
Let's Get Started (Azazel Jacobs, 2008)
The Whirled (Ken Jacobs, 1956 - 1963 / 2004)
Little Miss Sunshine (Jonathan Dayton and Valerie Faris, 2006)
Black Legion (Archie Mayo, 1937)
Night Nurse (William A. Wellman, 1931)
Crawford (David Modigliani, 2008)
Wall Street (Oliver Stone, 1987)
No Greater Glory (Frank Borzage, 1934)
Medicine for Melancholy (Barry Jenkins, 2008)
The Taste of Life (Harun Farocki, 1979)
Network (Sidney Lumet, 1976)
The Pleasures of the Flesh (Oshima, 1965)
You Won't Miss Me (Ry Russo Young, 2009)
Eros Plus Massacre (Yoshida Yoshishige, 1969)
Three on a Match (Mervyn LeRoy, 1932)
Trash Humpers (Harmony Korine, 2009)
Don't Let Me Drown (Cruz Angeles, 2009)
I'm No Angel (Wesley Ruggles, 1933)
28 décembre 2009
"Every day is Ashura, every land is Karbala"
"Yazid is a transgressor, a drunkard, killer of innocent people and an open sinner. A person like me can never give allegiance to persons like him." - Husayn ibn Ali*
“I will kill, I will kill; he who has killed my brother!”
[a slogan, also, of the 1979 Islamic Revolution]
“I will kill, I will kill; he who has killed my brother!”
“I will kill, I will kill; he who has killed my brother!”
Non-violence:
“Velesh kon! Velesh kon!” -- “Let him go! Let him go!”
a wounded man. a seized police helmet. a protestor's blood. a burning police station.
"I never revolted in vain, as a rebel or as a tyrant, but I rose seeking reformation for the nation of my grandfather Muhammad. I intend to enjoin good and forbid evil, to act according to the traditions of my grandfather, and my father Ali ibn Abi Talib." - Husayn ibn Ali
"Oh people, the Messenger of God said: Whoever sees an aggressive tyrant that legalizes the forbiddens of God, breeches divine laws, opposes the tradition of the Prophet, oppresses the worshippers of God, and does not concede his opposition to God in word or in deed, surely Allah will place that tyrant (in the Hell) where he deserves." - Husayn ibn Ali
Ali Mousavi, nephew of Mir-Hossein Moussavi, killed on Dec 27, 2009.
People ask them 'why do you do this to your people?' and the riot guards ask for forgiveness, 'Bebakhshid' they can be heard to say.A reader adds:
'You are Yazid's - the Khalif against whom the Ashura uprising took place - forces', the woman shouts at them. One of the protesters then reassures them that they will not be beaten up, all they have to do is say Khamenei is a bastard. The woman can then be heard saying 'All you can do is kill your people is it?' and again they plead saying 'Please We are not killers'.
What he leaves out is that the young woman who is heard towards the end yells "Are you only brave on your motorbike, you piece of shit?!" before apparently kicking him as a man tells her to stop.
"Those who were at the forefront of the struggle against Shah's regime, vividly remember the days of Ashoura in 1963, when even the Shah respected the sanctity of the holy day and only arrested the leaders of the opposition in the following days.
How is it that a regime born out of Ashura protests [like that of 1963] is now sending bunches of thugs to the streets and shedding people's blood on the day of Ashura? ...
I can only cry out Imam Hossein's cry [killed in the day of Ashura in 7th century]:
"Even if you don't have faith at least respect other's freedom!""
- Mehdi Karroubi
5 dead at least, confirmed in the English-language press -- as of now.
more:
Jon Jost
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*Ashura is the day of remembrance of Husayn ibn Ali, slain by the forces of Yazid at the Battle of Karbala. Ashura, this year, fell on December 27, 2009. All images/text/video above, save the quotes from Husayn ibn Ali, from that same date.
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