Category Archives: the sinister science

To destroy the world

The catastrophe that we are approaching is unavoidable. It is no longer a question of preserving civilisation intact against the forces of barbarism. Civilisation is barbarism—this civilisation, our shared present. Now, it is the question of which catastrophe we face: one completely out of control, with all the terrible anonymity that capital conjures in chasing itself across the global climate; or one we consciously face together, joined in a human community that we create amidst the disaster to save ourselves and the planet. Guy Debord once wrote that “victory will go to those who are capable of creating disorder without loving it”.[2] Today, the disorder of capital creates us, and we must find victory amid this disorder and through it, whether we love it or not.


The world overturned would be charming
In the anti-man’s eyes

Last year, we were presented with what at first sight seems to be a paradox. Beside the heightened anxiety and fear accompanying the outbreak there was also a palpable sense of excitement. In our part of the world the pandemic has been far from the devastating blow that has maimed and killed millions. Rapidly, the initial panic of the unknown that lay in our immediate future gave way to blissfully quiet streets. To be sure, this was far from a catastrophe. But meanwhile, it was impossible to forget that this brief respite from the intensities of capitalist life had, as its condition of possibility, precisely the disastrous events unfolding across the globe.

Finding pleasure in this brief slowdown of global capitalism, I was reminded of something I had stumbled across in Ghérasim Luca’s writing. While finishing his work, The Objectively Offered Object, I was struck by two passages. The first, followed upon Luca’s declaration of his belief that he had foretold a devastating earthquake in Bucharest in 1941—an earthquake through which he lived:

During, or else immediately after, the earthquake, either the sole or the first human erotic desire is to masturbate. […] This explanation is accompanied by the enormous excitation provoked in the unconscious by infantile rocking motions. When describing their experiences during the earthquake, almost everyone spoke about the rocking of objects—and above all of light fixtures—with a masturbatory hand gesture. The desire to masturbate was being satisfied by this symptomatic action in each account. [3]

I find Luca simultaneously a puzzling and compelling figure. On the one hand, he and his comrades in the 1940s held to a revolutionary position that was intransigent, against both the depredations of Stalinism and those tendencies that threatened to drag the Surrealist movement back into the art ghetto from which it had emerged and fought against. On the other hand, Luca appeared to be immersed in what can only be described as the most intensely idealistic aspects of surrealism, namely the growing tendency to relate the surrealist theory of objective chance to the mysticism of astrology and magic. Certainly, Luca attempted a materialist reckoning with this, but so far, I remain unconvinced.

In the quote above, Luca’s symptomatic reading of the hand movements of survivors of the earthquake is suggestive but far from persuasive. To my mind, a more fruitful line of enquiry would be found in attempting to unveil the general erotic and sensual sublimations and expressions associated with disaster, as much as the absence of such. For instance, in the wake of situations that induce panic and rampant anxiety I have felt this urgent need to fuck or masturbate. More often it has been simply the desire to hug someone else, to reach out and feel the warmth of life and the living. Conversely, it has also manifested as the traumatic desire to avoid others. If not exactly erotic, perhaps all expression of Eros, in Freud’s and Herbert Marcuses’s sense of the word.

However, it was another passage immediately following upon the one above that struck deepest:

Two years earlier [in 1939], during a conversation with my friends in Paris, I had claimed that I would find great satisfaction in a major catastrophe—the destruction of the Earth by a comet, for example, as foretold by astronomers. In a time of violent revolutionary pessimism, like that during which this conversation took place, several weeks after France’s entry into the war, it seemed justifiable to exchange one desperate but vital solution for another that was so natural yet so alien to us. At the level of desire, such a catastrophe being predicted in advance would have offered me, hastily and for a limited time, the satisfactions a revolutionary transformation of the world would have given me over a whole lifetime.[4]

I believe that this desire for the world to be thrown off of course rather than continue along the same dreadful trajectory—with or without a positive sense of revolutionary transformation—can be closely correlated with the experience of alienation and estrangement under capitalism. Often, as an imaginary escape and recompense for my existence as a plaything of capital, I have revelled in the most brutal and brutalising visions of destruction. A particularly memorable one was visited upon me as a sales assistant working in a bookstore. It was toward the end of a particularly boring day’s labour, while cast adrift on a sale table in the main concourse of the mall, without the company of my fellow proletarians. Stupefied by the never-ending stream of masses jamming the shopping corridors and their bland enticements, I pictured myself manning a 50-calibre machine gun, and methodically shooting every person and thing that crawled and slithered. Inevitably I laughed manically all the way.

As André Breton once mordantly noted of such fancies,

Anyone who, at least once in his life, has not dreamed of thus putting an end to the petty system of debasement and cretinization in effect has a well-defined place in the crowd, with his belly at barrel level.[5]

To be sure, Breton was not suggesting that such a dream was a reasonable solution to the unreasonable demands of life under capitalism, but rather that such brutal fantasies are at least as sane as the insane social relations that nourish them—and perhaps, in an objective sense, saner than meekly accepting the nigh unbearable contradictions and humiliations of daily capitalist life.

Such fantasies are almost always related to the emptying out of daily existence at the hands of the oppressive and atomising effects of wage labour—a grim, fantasy recompense for the actual reality of having your lifetime stolen because of the unfortunate need for money in this world. In part, this must explain what Ghérasim Luca was attempting to describe above. The fantasy of catastrophe and destruction, if viewed with an eye to the depredations of capitalist subjectivity, is akin to the dream of revolution. That such fantasies are not dependent upon the practical replacement of capitalism by a better, more rational social order is beside the point. Rather, it is a question of the simple desire for this present state of being to end—suddenly and totally. The great refusal of this reality and its much-vaunted necessity. Surely, without the ability to imagine the end of the world—even its utter destruction—we cannot begin to imagine what we would put in its place.

Perhaps this is why I am unconvinced by a belief, proposed by Slavoj Žižek, Frederic Jameson and Mark Fisher (take your pick), that has recently become a platitude: that today it is easier to imagine the end of the world than it is to imagine the end of capitalism. Visions of the end have been common coin in European culture long before the ascendency of the Christian tale of apocalypse—and in fact, the latter drew upon a longer tradition of apocalypse in Indo-European cultures. More proximally, the end of the world—or more precisely its destruction by various forces—has accompanied the rise to dominance of industrial capital. Indeed, some even conceived of this rise in terms of the clarion of universal destruction, spewing forth from the Satanic mills. What is more striking, to my mind, is not the opposition of hopeless disaster and utopia but rather their proximity: not just socialism or barbarism, but rather socialism and barbarism.

In truth, behind the guise of the cultivated critic who would sooner wield a phrase than a rifle, Žižek, Jameson, Fisher, and others, disguise their nostalgia for the actual dystopias of “really existing socialism” as a mourning for the passage of the utopian project. But such a project was never the property of the various socialist and communist Internationals that laid claim to it—at best they were the expressions of a desire that emerged from the everyday experience of proletarians themselves. At worst, they were the counter revolution incarnate.

For those like Ghérasim Luca, and other revolutionists caught between the Charybdis of fascism and the Scylla of Stalinism, the end of the world was palpably underway in the 1940s. In drawing attention to the similarity between the desire for catastrophe and revolution, Luca clearly posed the palpably destructive moment of revolutionary desire. This is not to fetishize destruction for the sake of it, but rather to be clear that not only is the destructive moment of revolution unavoidable, it is already happening under the guise of the much vaunted peace of the global market—replete with runaway climate change and wars that are in truth the never ending conditions of this “peace”.

To not merely preserve but rather revolutionize the idea of human community we must overturn this world. But before we can even do that, we must be clear: the present is already the destruction we fear. Nothing can wish it away; it is the truth we must not only better understand but more fully embrace.

Note on the détourned images, above: Words: after Ghérasim Luca; images: from Jack Kirby’s The Eternals.


[1] From the poem, ‘Useless Stake’, in André Breton, René Char, and Paul Éluard, Ralentir Travaux, trans. Keith Waldrop, Cambridge, MA: Exact Change [1930] 1990, p. 50.

[2] Guy Debord, ‘Theses on Cultural Revolution [1958],’ in Situationist International Anthology, trans. Ken Knabb, 2006, p. 54.

[3] Ghérasim Luca, ‘The Objectively Offered Object [1945],’ in The Passive Vampire, trans. Krzysztof Fijalkowski, Prague: Twisted Spoon Press, 2008, pp. 59, 60.

[4] Ibid., pp. 60-61.

[5] André Breton, ‘Second Surrealist Manifesto [1930],’ in Manifestoes of Surrealism, trans. Richard Seaver and Helen R. Lane, Michigan: University of Michigan Press, 1998, p. 125.

On the vapour trail

fig. 1. On the vapour trail with a friend.

Of the many pleasures that I indulge, the one I am perhaps most fond of is walking. I walk—everyday if possible. Mostly I walk by myself. At this time of year, the streets of Canberra’s north are marked by the fall of autumn. Amidst their rustling the trees shed their leaves, and so many seem aflame with the turn of the season.

To walk is to leave all that confines me behind—for a time. The walls, curtains, and ceilings of my house bound life fall away, and the light and the sky and the clouds pour in and push me on from one street to the next, along one more path and another.

Lately, the northern suburb of Downer—what a name!—has come to fascinate me. Downer has a good supply of alleyways that strike paths between streets, like much of the city’s north. I have set myself the task of navigating them all, in the hope of at last finding the fabled north west passage out of Canberra. Thirty years I have searched. Near the border of Downer, one such path (what I have come to think of the suburb’s true gateway) was once marked, appropriately, by some particularly striking graffiti—translated words from a Rimbaud poem: Now is the assassin’s time.

Occasionally I spy someone gardening or tinkering in a yard. I am struck by their situation while I am passing. I am not opposed to their attentions—how could I be? But I ponder the various ways private property shapes our being and fixes us upon the phantoms of ownership and possession. The details, the maintenance, the endless renovation of a vanishingly small décor, in search of a life sold off for a wage that can never truly be recompense for what was lost.

Private property tends to foreclose the possibilities of the drift or denigrates our wandering into a strictly formalised ritual—the holiday or temporary escape from the drag of work and home. In contrast, last year during lockdown, I found that the streets of my suburb became more alive with drifters. I had never seen so many people walking the streets of this town on weekdays. It was strange only because I am used to the quiet of the streets as work and school takes hold of the day.

I have had the good fortune of having the burden of wage slavery mostly lifted from me over the last year. Unlike times past this has not resulted in crippling poverty and a humiliating relationship with social security. And so now when I can—which is most days—I drift. And while drifting I dream as much as pick over the present anxieties that bother.

Today—yesterday, what does it matter—I struck upon a game to play while walking. Inspired by the surrealists and the clouds above.

On the vapour trail—aka Follow that cloud!

A game for one or more. This is a game suited to cloudy days, preferably with a sky full of lively cumulus. However, do not disregard the chilly serenity of the far-off cirrus, perhaps even more conducive to poetic revery. Take heed also of the possibilities of the sharp shock and squalls of the cumulonimbus. Note that this game is not suited to the dreary stratus, that overwhelms the sky in suffocating monotony.

First, pick a cloud. Now follow it. Negotiate all obstacles—pathways, roads, fences, creatures animate and inanimate—to keep it in sight. The game ends upon the whim of the chaser, or the coherence and evanescence of the cloud.

The game can play out in two main ways. It is first of all simply a question of following that cloud—no matter what. Keep it in sight and turn to the task at hand. Or, secondly, the chase can combine a fanciful accompaniment. For instance, once chosen, the cloud will provide ample material for fantastical confabulations. Whether by recourse to paranoia-criticism (is that a face before me?) or a fable more attuned to the ephemerality of the cloud itself (and so the necessary decline and demise of every sky palace), you must remember that any and all clouds in conscious relation exceed their objectification as mere phases in the circuit of convection and fluid dynamics. The materiality of this object is not a question of its independent existence—which it has, no doubt—but rather what one makes of it beyond the travails of alienation and utility.

An example: Yesterday, while walking south along Atherton Street toward the corner with Durack I sighted a nice plump squarish cloud with rounded edges. It immediately appeared to me as a continent undergoing the terrific transformations wrought by plate tectonics, millions of years telescoped into moments. In the north, the continent took on an anvil shape, while to the south of this peculiar peninsula a vast river delta opened. To the south east an archipelago spun off from the continent as the coastline fractured. In the utter south two lumps become great promontories broke off and formed independent islands, not long before one crashed back into the south east, and the other sunk for ever—perhaps—beneath the indifferent waves of the sky. And then, I reached Durack Street, and this nebulous continent passed from my grasp. All that remains I will to leave to the speculations of those psychopaleogeographers I once met in a dream.

fig. 2. The continent shortly before its destruction.

And so, another game to play within and against the alienations of the present as we plot and plan the insurrections to come.

Homage à Ghérasim Luca

fig. 1. “For the unlimited eroticization of the proletariat.” Words: after Ghérasim Luca & Trost; image: from Jack Kirby’s The Eternals.

We proclaim love—delivered from its social, individual, psychological, theoretical, religious, and sentimental constraints—as our principal means of knowledge and action. The monstrous brilliance and scandalous effort of its methodical exasperation, its unlimited development, and its overwhelming fascination—of which we have already taken the first steps with de Sade, Engels, Freud, and Breton—places within our reach, and that of any revolutionary, the most effective means of action.

This dialecticized and materialized love constitutes the relative-absolute revolutionary method that surrealism unveiled, and in the discovery of new erotic possibilities, which go beyond social, medical, or psychological love, we manage to grasp the first aspects of objective love. Even in its most immediate aspects, we believe that the unlimited eroticization of the proletariat constitutes the most precious pledge that we can find to assure the proletariat of a truly revolutionary development in its passage through the miserable epoch we are going through.

from, Dialectic of the Dialectic (Dialectique de la dialectique), 1945.


Coming up in the days and weeks ahead, we will be exploring why surrealist art doesn’t exist, the erotics of inescapable disaster, more complaints about the deleterious effects of critical critics, and–what we are most excited about–an all new never before seen English translation of an article on Surrealism by Guy Debord. We can hardly contain ourselves…

the sinister scientist

To experiment with the creation of everyday life

fig. 1. Who are the enemies of poetry? All those who use poetry as an end in-itself, not as a means for life and liberation. Which is to say all those who fetishize the poem over poetry itself. Graphic detourned from Frank Hampson’s Dan Dare, Pilot of the Future, Rogue Planet, April 1956.

I wrote the following essay for the collection Suddenly Curving Space Time: Australian Experimental Poetry 1995-2015 (Brisbane: non-Euclidean Press, 2016). In the essay I perhaps too briefly and bluntly attempted to outline the radical trajectory of avant-garde and experimental art in the 20th century against what now passes for “avant-garde” and “experimental” in the cynical art markets and cafeterias. If I were to write it today, I would be more forgiving of the original surrealists. Whereas I agree with Guy Debord’s critique of the surrealists, notably that André Breton in effect fetishized the irrationality of unconscious desire as the true font of all human creativity, I would argue that nonetheless the surrealists struggled—and Breton in particular—to distinguish the ongoing surrealist experimental inquiry into new forms of consciousness and everyday practices against its domestication as so many art objects readily commodifiable (particularly of the painterly styles that are now synonymous with ‘surrealism’). I hope to return to the question of this tension among the surrealists—between a properly surrealist practice and its reduction to art-objects—in a future essay.

The thrust of this essay is its call for a new revolutionary practice beyond merely the umpteenth iteration of so-called radical art—or the nth generation of boring political radicalism and reactionary Marxism for that matter. A pox on the artists and the wannabe politicians.

From the essay:

In 1957 when the situationists kicked off their experiments in living and ‘unitary urbanism’ they saw themselves as starting from the bases the surrealists had already staked out in 1924. Today we need to start again from the bases that the situationists established in 1968; and the surrealists in 1924; and the Dadas in 1916; and etc. However such bases are merely points of departure not closed projects to be emulated repetitively or ironically. In today’s world in which the look of surrealism has triumphed throughout popular culture, the original surrealists desire for a new way of living beyond the mundanity and horrors of capitalism seems more pertinent. As the situationists argued against their surrealist forebears, what is implicit is in need of being made explicit. It is not enough to limit our experiments to art alone. To the extent that our appropriations remain purely artistic—as poems, paintings, and even more process based conceptual works—is the extent to which we will be defeated and recuperated. The surrealists never tired of explaining: there is no poetry for the enemies of poetry. And poetry for the surrealists, beyond their paintings and poems, was synonymous with the playful creation and recreation of life itself. 

Anthony Hayes
Canberra, April 2021

To experiment with the creation of everyday life

Today in the worlds of artistic production and consumption the adjectives “experimental” and even “avant-garde” are used most often to describe works that are perceived to be formally different to more “mainstream” or conventional artistic modes of production (see Gerald Keaney’s introduction for more details with regard to written poetry). However such a formal definition of “experimental” often masks the historical roots of the terms use among the artistic avant-garde of the first half of the 20th century. For instance, both the terms “experimental” and “avant-garde” were deliberately used in order to evoke an association with the communist and anarchist political avant-gardes of the late 19th and early 20th centuries, and their experiments in new forms of social life. The present use of “experimental” often bears little resemblance to its avant-garde origins, having become a “floating signifier” of sorts (to use a phrase derived from semiotic theory). This is not necessarily a bad thing; however, it is worth considering why such a de-contextualisation took place and whether or not we should attempt to infuse once more contemporary artistic practices with the “experimental” utopianism from which it so obviously descends.

In the early 20th century, some artists in Europe and then elsewhere in the world styled themselves “experimental” and “avant-garde”. At the time such declarations were not merely in relation to the formal experiments in the arts—such as the various experiments with poetic and novelistic form (e.g. Rimbaud, Lautréamont, Mallarmé, Joyce) and in painting and other plastic arts (e.g. Cezanne, Picasso, de Chirico, Giacometti). In addition to their startling formal playfulness, these artistic experimenters pictured themselves in the avant-garde of a social upheaval they saw all around—the rapid transformation and creation of a global society via the spread of capitalism and in particular the forces which opposed it. In 1917 the poet Apollinaire would call this the ‘New Spirit’.

The first self-professed avant-gardists, the Futurists, declared their art in keeping with the terrific technical development evinced by Industrial society, and to be in advance of the lagging culture of their day. However, their avant-garde ended in the decidedly archaic celebration of fascist brutality (though the Russian Futurists fared better, caught up in the brief cultural efflorescence in the wake of the Russian Revolutions of 1917). It was left to other contemporaries, notably German Expressionists, Russian Futurists, and various Dadas and surrealists, to draw out the potentially explosive and progressive nature of such artistic experimentation. The surrealists in particular declared themselves “determined to make a revolution” in order to break apart all the fetters of the mind, “even if it must be by material hammers!” (in their Declaration of 27 January 1925). However, the surrealists fell prey to the confusion of their times, in particular the enervating results of the Russian Revolution and the effective burial of the international working class movement by Stalinism. Capped off by the fascist counter-revolution of the 1920s and 30s, the brutal destruction of the Spanish Revolution by Franco, Hitler and Stalin, and the hitherto undreamt-of destruction of the Second World War, the new world fashioned on the backs of the industrial proletariat proved itself more resilient to the often solely artistic criticism of art made by these avant-gardists.

The post-1945 world saw the previously controversial styles of the surrealists and Dadas welcomed into the corrosive worlds of the art market and academic dissection, two processes that further stripped the formal achievements of the avant-gardes from their association and attachment to the revolutionary criticism of capitalism. In the 1950s and 60s artists and revolutionists associated with the Situationist International (1957-72) called such processes “recuperation”, pointing to the way then contemporary experiments in artistic form divorced from broader social and political criticism tended to dissipate precisely the social applications of such experimental creation and criticism. Against this “recuperation” the situationists proposed to realise the “revolution of everyday life” that the surrealists had originally proclaimed in the 1920s, but had dissipated in largely artistic ventures and misbegotten fidelities to Stalinism, Trotskyism and the irrationalist mysticism that many surrealists were never able to completely shake off.

The situationists argued that avant-garde artists should focus on the possibilities at hand in contemporary society. Capitalist industrialism and the increasing mechanisation and automation of production had ushered in a material abundance that immediately raised the possibility of a more leisurely and creative existence for all. However, the capitalist and bureaucratic classes East and West enforced a universe of work and militarism as the corollary of this new mass market of commodities (even while many of their ideologues pondered the coming future of automation and leisure). The situationists argued that under such conditions radical artists should focus on two tasks. Firstly, the elaboration of an experimental practice directed toward demonstrating the creative possibilities of contemporary technical and cultural potentialities beyond their capitalist use; and thus, secondly, the development and dissemination of a revolutionary critique of contemporary society which drew upon both the modern artistic and political-philosophical avant-garde movements. Accordingly, it was not enough to ponder the possibilities of automation and leisure, because without a decisive break with capitalist society such processes would be used to enforce new forms of work, unemployment and more marketing opportunities (as we future dwellers know only to well).

In keeping with the idea of the potentialities already present within the capitalist social order the situationists proposed “détournement” as their central method. Derived from the French verb signifying “diversion” and “hijacking”, the situationists argued that the most advanced artists had already used “détournement”—notably the collage and “automatic” techniques pioneered by Cubists, Dadas and surrealists. What they proposed, particularly in the face of the repetitive nature of formal artistic experimentation in the post-war period, was that détournement should be made the key method of the artistic and political avant-gardes. Thus, they later argued that Marx’s early conception of “revolutionary practical, critical activity” could be détourned from the mutilated version that traded under the name of “Marxism”. However, détournement is not simply “appropriation” or “reappropriation”, as some later day postmodernists would like to imagine. For instance, the situationists return to Marx was made alongside of their attempt to understand the nature of the contemporary capitalist spectacle. The situationists used the term “commodity-spectacle” to describe the then new mass consumer markets in commodities that were both the logical development of, and divergent elaboration of the capitalism Marx criticised. 

As the 19th century pioneer of détournement, Isidore Ducasse (aka the Comte de Lautréamont), had argued, the creative plagiarism that lies at the heart of all human endeavours cannot be reduced to the mere copying or facile rearrangement of previously fashioned components. Rather, détournement proposed to improve on the original, adapting ideas and repurposing them for current needs.

Ideas improve. The meaning of words plays a role in that improvement. Plagiarism is necessary. Progress implies it. It closely grasps an author’s sentence, uses his expressions, deletes a false idea, replaces it with the right one.—Isidore Ducasse, Poesies, 1870

The situationist conceived of “détournement” as both the most significant discovery of the artistic avant-gardes of the 19th and 20th centuries, and a sort of “ultima thule” beyond which solely artistic practices could not proceed. What they meant was that most attempts to revolutionise artistic expression (even those that ended in a Dada like anti-art) had effectively exhausted the formal innovation of the arts. Certainly, one could continue with different contents, chiselling away at the already discovered new forms (collage, automatic poetry, the use of found objects, abstraction, etcetera, etcetera). But all that would be achieved would be the elaboration of so many works of art, liable to be sold in the markets for art, or not as the case may be. Instead—and here the situationists clearly drew upon the original sense of “experimental” and “avant-garde” amongst the Dadas, surrealists etc.—experimentation must move away from the impasse of formal experiments and aim at the transformation of everyday life itself. The situationists initially attempted to experiment with the design and use of cities (under the name of ‘unitary urbanism’—see here, and here). Ultimately, they moved beyond this and took aim at the organisation of capitalism itself, helping to usher in the last great revolutionary experiments of the 1970s amidst the festive occupations movement in France in May 1968.

In 1957 when the situationists kicked off their experiments in living and ‘unitary urbanism’ they saw themselves as starting from the bases the surrealists had already staked out in 1924. Today we need to start again from the bases that the situationists established in 1968; and the surrealists in 1924; and the Dadas in 1916; and etc. However, such bases are merely points of departure not closed projects to be emulated repetitively or ironically. In today’s world in which the look of surrealism has triumphed throughout popular culture, the original surrealists desire for a new way of living beyond the mundanity and horrors of capitalism seems more pertinent. As the situationists argued against their surrealist forebears, what is implicit is in need of being made explicit. It is not enough to limit our experiments to art alone. To the extent that our appropriations remain purely artistic—as poems, paintings, and even more process based conceptual works—is the extent to which we will be defeated and recuperated. The surrealists never tired of explaining: there is no poetry for the enemies of poetry. And poetry for the surrealists, beyond their paintings and poems, was synonymous with the playful creation and recreation of life itself. 

In order to make poetry dangerous again we must turn our experiments once more to the vast canvas of everyday life.

Anthony Hayes
Canberra, January 2016

La Hipótesis: Song of Myself

fig. 1. Detail from La Hipótesis: Song of Myself by Nirsa. See below for links to pdfs.

Episodes in the “La Hipótesis” saga…

From time to time, the sinister science turns its attention to a world other than this one. This other world is neither too far nor too close for comfort. We can say, with a great deal of certainty, that it is has nothing to do with Immanuel Kant’s noumena, and everything to do with the sometimes mysterious, other times limpidly clear notion of immanence. The other world is right here, now, even if it is also infinitely remote. Which is to say, this other world is to be made, to be born within the womb of the old.

Occasionally, we are lucky enough to intercept messages from this other world—communiques from another life. On a wavelength difficult to access, a certain Nirsa recently contacted us. I can tell you we were as surprised as we were excited by their missive. Nirsa proposed a story, part harangue, part dialogue, and yet the very quintessence of truth. Less generous souls might call it entirely confabulated. We, however, recognise in La Hipótesis the verification of an absolute perspective and project: a song of myself.

As Walt Whitman once remarked in his own song, every atom belonging to me as good belongs to you. We can be assured that among the many properties of atoms, the property of belonging, of relation, overrides the conventionally historical and ephemeral sense of isolation, and indeed, atomisation. To be an atom is already to be a cosmos. Accordingly, Nirsa sings of an absence, sub specie aeternitatis, that is nothing other than a fullness. Which is to say—as we must—a dialectic in operation, tirelessly, by turns contingent and necessary.

And so, today, without further ado, we have the pleasure of presenting this communique, and anticipate its continuation and replication upon other frequencies:

La Hipótesis: Song of Myself

To be read on the screen

To be printed

fig. 2. Detail from La Hipótesis: Song of Myself by Nirsa. See above for links to pdfs.

And as the years pass, and our sense of belonging is battered by the scourge of work and empire, do not forget, “apes-ma, your cage isn’t getting bigger…”

Hateful anti-christams

fig. 1. Raoul Hausmann, Kurt Schwitters, El Lissitzky.

“Language is only a means of understanding and of not understanding”

Back in May 2016 I translated ‘Pin’, a collaborative Dada-Merz poem by Raoul Hausmann and Kurt Schwitters first published in 1962. The poem, however, is dated 1946. PIN was a projected magazine that Raoul Hausmann and Kurt Schwitters worked on before the latter’s death in 1948. I translated the poem almost certainly because May 2016 was around the 100th anniversary of Dada. 11 years before 1957 the poem can be considered a bridge between the respective practices of Dada and Merz, and the soon to be instituted experimental practice of the situationist international. An anticipative plagiarism:

“You prefer to use language in order to understand platitudes that everyone already knowns by heart. We prefer language that will procure for you a new feeling for these new times”.

CHRISTAMS time has come. Consider this a follow up to ye olde taile of Santa Rosso. (Who is Santa Rosso? Check back here on the dark one’s birthday.) Consider this me hateful anti-christams card as anticipative Doctor Shamass.

All italics and spelling errors are intentional.  


A fancy

A fanfan thing

Seize the right thing

The world has need of new tendencies in poeting and paintry

The old junk can no longer fool us

The Muses must fanfanter if humanity wants to survive

The cocky sprits fell pretty low during the war

We want farfader sprit, because we see with our ears and hear with our eyes

Our drsls and rlquars ghosts are full of fatatras.  They surpass “modern poetry” with their new taste

Their content is so very direct that they place themselves above language entirely

Language is only a means of understanding and of not understanding

You prefer to use language in order to understand platitudes that everyone already knowns by heart. We prefer language that will procure for you a new feeling for these new times

Leave behind your controlled feelings and look, if you please, over here at our fanfan and you will see that it is worth it


The right fanfare to know

Raoul Hausmann and Kurt Schwitters, 1946


PIN was a project that Raoul Hausmann and Kurt Schwitters worked on before the latter’s death in 1948. “Fanfan La Tulipe” is a French “larrikin” character. According to the Vincent Perez Archives, he is the personification of the French hero, a chronic jokester, ladies man and free spirit who refuses to surrender to a forced marriage and instead finds himself persuaded to enlist in Louis XV’s regiment of Aquitaine by the enchanting Adeline. The character of Fanfan La Tulipe has evolved through the times into playing a central role in the French national identity, originating from the tale of a French soldier who triumphed against the British in 1745, and later evolving into a character in numerous songs and plays who made fun of his superiors and somehow always got away with it through his wit and a quick draw.

What is the sinister science?

fig. 1. Who is the sinister scientist? Collage by antyphayes.


What is the sinister science? For a start, it’s this blog. But could it be something else?


I have another blog called Notes from the sinister quarter. Originally, I set it up to be the platform for my PhD research—primarily on aspects of the life of the Situationist International (1957-1972). I took its name from Ivan Chtcheglov’s proto-situationist text, Formulary for a New Urbanism (1953).

In his article, Chtcheglov envisaged a city given over to the playful desire for the total creation of life. The city was presented as a possible realisation of Guy Debord’s idea of the ‘constructed situation’. The emphasis was on play and the ‘total creation’ of life in opposition to the chaotic, exploitative, and oppressive reality of the capitalist city.[1]  

In clear opposition to the so-called functional capitalist city divided into commercial, residential, industrial and governmental districts, Chtcheglov proposed that his city of play and desire would ‘correspond to the whole spectrum of diverse feelings that one encounters by chance in everyday life.’ [2] Thus, he imagined various districts—quartiers in the French—whose names indicated something that transcended the merely descriptive or habitual. But of all his proposed quarters one in particular stood out. 

The Sinister Quarter […] would replace all the dumps, dives and other gateways to the underworld that many peoples once possessed in their capitals: they symbolized all the evil forces of life. The Sinister Quarter would have no need to harbor real dangers, such as traps, dungeons or mines. It would be difficult to get into, with a hideous decor (piercing whistles, alarm bells, sirens wailing intermittently, grotesque sculptures, power-driven mobiles, called Auto-Mobiles), and as poorly lit at night as it was blindingly lit during the day by the excessive use of reflective phenomena. At its centre, the “Square of the Appalling Mobile.” And just as the saturation of the market with a product causes the product’s market value to fall, children and adults alike would learn not to fear the anguishing occasions of life as they explored the Sinister Quarter, but rather be amused by them.[3]

Of course, Chtcheglov, Debord and other young ‘International Letterists’ imagined their city of creative desire amidst their play within and without the dumps and dives of Paris—a living sketch of the projected sinister quarter and situationist city. Indeed, Chtcheglov’s Formulary… would prove crucial to the early years of the Situationist International, particularly of what would become known as ‘unitary urbanism’. By proposing the use of literary and other artistic works as ‘blueprints’ liberated from the mausoleum of culture to aid in the construction of future situations, Chtcheglov anticipated the later theory of détournement. Against much of the contemporaneous Marxist and Anarchist orthodoxy, Guy Debord would later make explicit what was implied by Chtcheglov’s vision: in order to be practical, any methodological critique of capitalist urbanism must encompass an argument for what comes after. Or even more succinctly: the critical means must encompass the end aimed for:

[T]he practice of utopia only makes sense if it is closely linked to the practice of revolutionary struggle. The latter, in its turn, cannot do without such a utopia without being condemned to sterility.[4]


There is an article by André Breton that reminds me of Chtcheglov’s Formulary…—a precursor if you will. Breton’s article, translated as ‘Once Upon A Time’, was first published in the surrealist journal Le Surréalisme au service de la Révolution, no. 1 (1930). In the article, Breton imagined establishing a house and grounds on the outskirts of Paris dedicated to placing its temporary denizens into a ‘position which seems to be as poetically receptive as possible’.[5]

What Chtcheglov did for the imaginary city, Breton attempted on the scale of a single building and its immediate surrounds. In Breton’s case a certain sinister quality pervades the entirety of his project:

Nothing grand. Just around thirty rooms with, as far as possible, long corridors that would be very dark or that I would myself make dark. […]

For each bedroom, a large clock made of black glass will be set to chime especially well at midnight. […]

There will be hardly anything but small study lamps with green lampshades that will be dimmed very low. The blinds will remain lowered day and night.

Only the white-washed reception hall will be lit with an invisible ceiling light and it will contain no other furniture, besides two authentic Merovingian chairs, and a stool on which will sit the perfume bottle tied up with a pale ribbon, inside which a discoloured rose will be immersed with its stems and leaves equally lifeless […].[6]

The décor is distinctly—and inevitably—dream-like, pervaded with the spectral gloom one would expect of such nocturnal visions. Breton perversely equips his playground with a single law, redolent of his own grip upon the reigns of surrealist (anti) power: a firm injunction against sex, ‘strictly forbidden, under penalty of immediate and definitive expulsion’ from the building and its grounds.[7] One wonders how such a directive would have been enforced in a zone otherwise given over to chance and play.

There are other details: rooms almost impossible to gain entry to—possibly the one most in keeping with Chtcheglov’s difficult to access quarter. What I find most fascinating, and commensurate with the Formulary…, is Breton’s idea of a distinctly anti-capitalist architecture as re-enchantment, as the recovery and practical elaboration of those fantastical stories we were told as children—stories whose main failing is precisely their role as forms of inoculation, subservient to the rapidly approaching adult world of wage labour and other alienations.

As Breton may have remarked, somewhere, anywhere: the sinister is what tends to become real.


So, having got this far you might be wondering: is there a sinister science?

Without doubt, the sinister science blog draws inspiration from Chtcheglov’s imaginary city and Breton’s dream house. To that extent, I am more than happy to declare the surrealist and situationist lineage of this project. However, “the sinister science” is, for me, no mere bon mot or frivolous affectation—even if it is also this. I also sincerely believe in a sinister science, one that bears comparison to a more general sense of science—what is called Wissenschaft in German—rather than the modern restricted sense of what was once called the natural sciences.

If there is a single principle of the sinister science, it is error. The anti-royal road to truth is littered with our blunders and mistakes. In part, this is Hegel’s argument: the false is a moment of the true. But he continues: no longer as the false.[8] Hegel’s truth is not founded upon the principle of bivalence and “falsifiability”. Rather, error is resolved as a moment of the process of truth (and so, per the comments above, not false at all). Without digressing into an examination of Hegel’s truth versus conceptions of the truth value of propositions, for now it is enough to hold onto the following: Hegel is more concerned with truth as a process and the role of error in this process. Error, in Hegel’s sense, is only false to the extent that it is considered in abstraction from such sensuous processes, and so posed in a less than splendid isolation from the entire truth of the matter. Indeed, in The Phenomenology of Spirit, Hegel draws attention to the crucial role that error has in the movement of truth, insofar as error and contradiction are generative of the processes which resolves them. Unlike the analytic sense of truth, Hegel’s truth is not a question of the truth value of a particular proposition considered in isolation. Truth, by his reckoning, is not so much arrived at as it is the form and content of the entire process.

However, Hegel’s conception of error and truth should not be confused with more recent conceptions of the relativism of truth derived from Friedrich Nietzsche. Nietzsche infamously argued that truth is merely the history of an error.[9] In contrast to Hegel, Nietzsche was not interested in the relationship between truth and error, but rather keen to demonstrate that all purported truths are merely so many fictions. All that make them true, by his reckoning, is the extent to which they embody a will to power that triumphs in the face of other, competing ‘truths’. More recently this has been recast by Michel Foucault as the theory of discursive power. As has been often pointed out, the chief problem with such claims is that they tend to be self-undermining. By presenting truth as the function of a successful will to power, such theories undermine their own implicit claim to being true.

Crucial to Nietzsche’s conception of the necessarily fictitious nature of ideas about reality is the belief in the utter irreconcilable difference of thought and being. In his reckoning, it is this difference that is at the root of the fictitious claims about being that have been fashioned by humans. However, in making this claim Nietzsche follows his master, Schopenhauer, albeit with the more transcendental aspects of the latter’s Kantian philosophy hacked off. Nonetheless, and despite his apparent loathing of the thinker of Königsberg, Nietzsche maintains the unfortunate dualism of Kant’s schema, insofar as thought and thinking are cast as irreducibly other to what is not thought. Thereby, even though Nietzsche and his followers claim the mantle of radical materialists, they in effect maintain precisely the spectral Platonism that they so loudly protest. Except, in their case, the dualism they eschew is hidden behind the assertion of a flat ontology of immanence.

fig. 2. “We know only a single science, the sinister science.” Still from the film Them! (1954).

To be absolutely clear, the sinister science is incompatible with Foucauldian and Nietzschean notions of error. As I hope I have made clear, the sinister science is closer to Hegel’s negative dialectic and Marx’s redeployment of this under the aegis of his ‘materialist conception of history’. Indeed, that this science is implicated in not only the criticism of all that is, but equally its transformation, is precisely what makes it sinister. And with due alteration, I can induce Hegel to remark that history is the sinister bench upon which the cosmos itself will be dissected and rearranged. Or, as Marx and Engels purportedly wrote, shortly before crossing out their fruitful error:

We know only a single science, the sinister science.


[1] Ivan Chtcheglov, Formulary for a New Urbanism, 1953.

[2] Ibid.

[3] Ibid. Translation modified.

[4] Daniel Blanchard & Guy Debord. Preliminaries Toward Defining a Unitary Revolutionary Program, 1960. Translation modified.

[5] André Breton, ‘Once Upon A Time’, from The Dedalus Book of Surrealism 2, translated by Michael Richardson, Langford Lodge: 1994, p. 5.

[6] Ibid., pp. 2, 3-4.

[7] Ibid., p. 3.

[8] See, Hegel, The Phenomenology of the Spirit, Preface, thesis 39 (T. Pinkard translation).

[9] See, Nietzsche, Twilight of the Idols.


fig 1. Monday, 11 September 2000, outside the Crown Casino in Melbourne. Much like Where’s Wally I am somewhere in this photo. The logo in the upper left is unknown to me, but I assume is related to the source of this photo.

S12 by way of S11

On September the 11th, 12th and 13th, in the year 2000, exactly a year before the more famous 911, there was S11. ‘S11’ was the campaign we protestors organised to blockade the World Economic Forum (WEF) round held in Melbourne at the Crown Casino. Looking backward on the year 2000, from the year 2020, I recall things of little consequence, the stuff of idle chatter and gossip from that time. We wondered—inevitably—what we should be calling the days after September 11. Was S11 the entire protest, or just the first day? And if S11, why not S12 and S13?

Still pondering such quandaries twenty years later, I was struck by the 20th anniversary mostly because people I both do and do not know began posting about it on twitter. Looking over these various comments, articles, pictures and other reminiscences, and ruminating on my own recollections, I stumbled across a mostly forgotten document on a mouldering hard drive. A draft of an email I sent to a friend soon after I returned home after the Melbourne protests.

Love & Rage was the group who I felt the most affinity with back then. I think I became a member either during or immediately after the S11 protests. I later helped set up a Love & Rage “branch” in Canberra. Among what I call the Love & Rage crew or gang in the email below, there were also probably people from the Revolutionary Action crew from Wollongong. When I wrote the email in 2000 I was not completely clear about the differences or relation between LR and RA. There was definite crossover. The LR and RA milieu were motivated by a variety of ideas that broadly were opposed to both Marxist and Anarchist orthodoxy. The group was a relatively eclectic mix of leftist and libertarian Marxist and Anarchist thinking, syndicalism, councilism, a dash of the situationists and post-situationists, feminism, queer radicalism, all of the posts (postmodernism, poststructuralism, and post-Marxism), and especially ‘Autonomist’ Marxism. I have written on Love & Rage, but only in passing, in an article called Dead Real (2013). I was also involved in editing a Love & Rage related zine called This Is Not A Commodity published in early 2001, and available here. Included in the zine is an eyewitness account of S11 by a comrade entitled S11: Make Crown a prison, the criminals are already inside. For more on Love & Rage, though unfortunately from a relatively hostile, syndicalist perspective, see two accounts available here and here . These articles are descriptions and criticisms of two different Love & Rage meetings in Sydney in February and July of 2001, published in Rebel Worker—the paper of the Australian based Anarcho-Syndicalist Network (ASN). I attended both of the Love & Rage meetings mentioned in these articles, and probably have notes on them somewhere, in some forgotten notebook.

Below, I’ve re-written my email from the year 2000 in part, mostly to clarify some of the more telegraphic sections. It’s mostly self-explanatory, and very much from a first-person perspective. Wisely, at the time I chose to concentrate on two distinctive memories, one of a frenzied fight and struggle with some security guards on the first day, S11. The other a clownish attempt to liven the boredom of blockading on the second day, so-called S12. That’s all it is, a fragmentary first hand account with little or no critical analysis. From the less than sublime to the more than ridiculous.

And so, with no further ado….

Dear K.,

S11 was a blast! It was like nothing I’ve been involved in before. Despite the cop violence it was probably the most “peaceful” demonstration I’ve been involved in—a testament to the sheer size of it. I heard estimates of up to 20,000 demonstrators on Monday the 11th of September.

Early on Monday morning I caught a train into the centre of Melbourne with some other comrades. I’d been staying at one of their places since arriving the day before. When we arrived in the city centre, I split off to go find the Love & Rage (LR) group from Sydney. I was a bit spooked as I walked alone across the grey concrete south bank of the Yarra toward the Crown Casino. The sky was overcast and dull. I remember thinking that if it poured down it would be a wash out. It did rain for a while in the morning, but not too heavily and it then it stopped. The first day was simply massive, we shut the Casino down and made life hell for the rich delegates and their willing stooge, Labor Premier Steve Bracks.

I was involved in some biffo, mostly on the first day. I helped hold back the horse cops on Monday morning on two occasions that were gloriously successful. The picture above is after one of those occasions (I can’t remember which—maybe the second?). S. was there at the first occasion. After that I lost track of him. I’m sure he was mixing it up elsewhere at the Crown Casino over the three days. I haven’t seen him since returning home. The last I saw of him he was handing out Texta-pens wrapped up in paper to assist in the beautification of the Casino.

Later that same Monday morning I was involved in an unsuccessful attempt to break into the Casino. I found myself loitering around a picket line covering an access ramp to the Casino carpark, I think on the southern face of the building. At this point I think—I’m not sure—I was with some comrades from my town, L. and Z., not the LR gang. The picket was relatively small, somewhere between 10 and 20 people. This picket, away from the main entrances to the Casino, was not a very popular one at this point. After battling the horse cops I’d been scouting the perimeter with some comrades, pondering the possibility of breaking into the Casino and causing some havoc. A few of us had been hanging around a concrete ramp that led into a car park in the Casino. At the carpark picket the Casino’s private security detachment was relatively small, maybe around the same number as protestors on the picket, maybe not even that many—say around ten security guards. Me and my confederates thought this was a perfect place to break into the Casino, not much security, and no cops at that point. If only we had enough people to overwhelm the guards. Crucially we needed people who wanted to and were capable of breaking through. As luck would have it, at the exact moment we were discussing this, a column of several hundred protestors suddenly appeared behind us with a woman in the lead, a veritable new millennial Boadicea, eyes ablaze, hair streaming behind her, pointing at the line of security guards and yelling, “through the line!”, or something to that effect. I was electrified, who wouldn’t be?

Facing the column of angry and combative protestors bearing down on them, the security guards freaked out and went berserk, punching on with those of us up the front. And then it was on for young and old. The fact of our now overwhelming numbers should have secured us an easy victory. Unfortunately, there were a few people up front that didn’t want to be there, who had been caught by the sudden appearance of the column of demonstrators. I tried to help some of them out of the way, but it was too late. The press of the column of protestors was overwhelming, and the security guards had already begun to savagely attack us.

Unfortunately, because quite of the few of the picketers who were already there wanted no part of the flying column’s push to break through the security line, our frontline quickly fractured. All around us demonstrators were trying to get through the security lines. To be honest, I wanted to be fighting the security guards with my comrades, but I was also struck by the palpable distress and anxiety of those picketing comrades who didn’t want to be there. I knew what it was like to be in a hairy demo situation with seemingly no way out. At the so-called Federal Parliament House “riot” of 1996 (that’s what the law & orders called our mass attempt to break into the “people’s house” while the ACTU sold us out from their nearby “protest”) I remember being close to breaking when I thought I was about to be spattered by shattered plate glass amidst the crush to break through the main doors of New Parliament House.

Being at the point of the intersection of struggling demonstrators and security guards or cops is always shitty, even when you want to be there. It’s pretty easy to get badly injured by the blow of a baton, a punch or a kick. Under these circumstances, hemmed in by the sides of this concrete access ramp, and with the press of this column of protestors, the reality was that you didn’t have much choice in the matter, particularly because you had started up near the front on the picket line.

The strangest thing then happened to me and a few other protestors amidst the tumult. I recall trying to pull a security guard off someone only to have the guard turn on me. In the scuffle, the security guard who was attacking me, the young guy I had saved from the guard’s beating, and two or three other unfortunate protestors, ended up on the wrong side of the skirmish. Which is to say, behind enemy lines, on the far side of the security line.

We were precisely where the rest of the protestors who were struggling with the security wanted to be—but there was only three or four of us. What to do, make a quick dash to the door and get into the Casino? But just as we found ourselves here, so deliriously close to the entrance, more and more cops began to show up on the side we found ourselves on. Quickly the idea of making a dash seemed a bad idea. The far side of the security line was rapidly becoming a bad place to be. I recall myself and at least one of my other harassed comrades trying to placate the security guard who was still facing us there. I even tried to shame him for having beaten the young guy I had saved.

Somehow, we got back to our side of the line, with the rest of the protestors. But by such time our chance had passed, and the cops had arrived to reinforce their beleaguered private security comrades. Perhaps it had been a crazy idea trying to break in at that point. Later we knew that there were at least one thousand cops in the Casino and several thousand private security. But hell, it would’ve been fun to have run rampant in the Casino before being caught.

At some point while the skirmish was still on we were treated to the bizarre sight of cops pulling some of the security berserkers off protestors. The private security had totally lost it, savagely attacking the picket and the protest. Which isn’t to say that the cops were much better, considering the yet to come brutal cop assault by the Tactical Response Group on one of our pickets on the following night, Tuesday the 12th. But on that morning, Monday morning, the security dogs were much worse that the cops.

With all this talk of columns and skirmishes and yelling and punch ups I’m sure I’ve given you the wrong idea about what S11 was really like. Despite the florid length of my account, the confrontation with the security guards took up all of about 5 minutes—it was a slow and frenzied time of abrupt and violent action. The confrontation with the horse cops earlier in the morning had been a little scary too, but then there were a lot of us, and we forced the cops withdraw. But mostly, over the next three days there was a lot of waiting, walking, talking, silliness and other stupidities. Just like in any war!

Unlike Monday the 11th when I’d been one of the wandering horde of protestors, on Tuesday I spent most of the day on one of the blockades with the Love & Rage (LR) crew from Sydney. By the afternoon my co-blockaders and I had become bored. To address the boredom LR gathered together and we discussed the possibility of alternate actions.

What did we discuss? After the Monday shutdown, we knew that the state, Crown management and the cops had shifted to transporting WEF delegates in and out of the Casino by launch. As a result, our blockades that had worked so effectively against car traffic on the Monday, were now more hostile encampments than a watertight siege.

The jetty entry points on our side were both heavily guarded and somewhat mysterious in nature. But on the far side, it seemed as if no one was guarding the jetty at which delegates both embarked and disembarked by launch to and from the conference. So, someone suggested in the LR meeting, how about we occupy one of the jetties on the unguarded far side?

So, after much talk and a little wandering, we did precisely this. We set off, running across the nearby bridge to the far side. But as so happens at times like this (like the carpark and the fortuitous column of protestors) a launch full of delegates just happened to set off and head for precisely the jetty we were heading for. We descended upon the jetty, whooping and leaping and shouting at the approaching launch and whoever. What a noise. Sure enough, the boat veered off and proceeded further down the river. Victory! Of sorts. The other jetty was too far away to stop them, so we returned a little deflated and desultorily back to the blockades on the other side of the bridge.

There’s about 20 Love and Ragers at this point. As we start back over the bridge, a cry rings out, “Delegate! Delegate!”. Someone has seen a WEF delegate. And then we’re all running back the way we came, but veering off toward an entryway to the Melbourne Exhibition Centre near the Casino.

I’m pretty buggered by this time, too many cigarettes god damn. I recall trailing the LR pack with C. We were talking loudly in cheesy Russian accents about our despicable plans for world conquest. The performative space of the protest is so alluring. We follow the rest of the gang into the entry of the exhibition centre, a through road that runs through the building and out the other side. As we pass into the road, low and behold we’ve stumbled into a cop staging area with tonnes of horses and cops wandering about. Strangely they leave us alone. It’s damn spooky as we wander through, as if all these horses and cops are a part of a conceptual art installation. And then we come out the other side with the rest of the LR gang to see the “Delegate!” in question being bundled into a car and driven off at speed. So, there we are, pondering our unsuccess, and I suggest that we get the hell out of where we are. So many cops and security float about—too many for us to get away with anything. I remember thinking that I should climb onto a nearby barricade and begin performing at the cops, in my best seductive movie star style, but decided against it in the face of some rather mean looking security-thugs near the barrier in question.

So, we wander off, back through the exhibition centre. But sure enough the call goes up again, “Delegates! Delegates!” rings out and the point of the LR gang are running up a ramp that takes you into the bowels of the building. By the time I arrive at the top of the ramp the Love and Ragers are plastered against a glass wall that looks upon an escalator void in the building. All of the comrades plastered against the glass are hammering on it and shouting, “scum! scum!”. As I stand there, bashing on the glass and yelling insults at the besuited figures crowded onto the escalator, I notice that they are all women. All of them. Not a single man on the escalator. Pretty much we all begin to realise this at the same time, and our thumping and yelling starts to diminish. The women on the escalator look at us strangely, their faces a mix of fear and disgust.

It’s another conference entirely. Fuck! As we walk away, embarrassed and a little ashamed, a door pops open from the exhibition centre. A woman exits, looking a little frazzled, one of those we shouted at on the escalator. One of our number calls out, jokingly, “that’ll teach ya for going to a conference!”. More usefully, a comrade walks up and reads the conference logo on her backpack: they call back, “It says The Nth Women’s International Conference on Healing”. Fuck! And then there are more women, all attendees of the conference on healing pouring through the exit, past the remorseful and shamed eyes of their onetime attackers. We all, simultaneously, start calling out apologies, “sorry!”, “so sorry!”, “we thought you were from the WEF!” etc., etc.

Having, hopefully, learnt our lesson, we shuffled back to the blockade of the Casino with our collective tails in hand. Whoops! And let us never speak of this again… until now!


signed, Me.

Hail the sinister science

fig. 1. the mad sinister scientist at play.

the sinister science: it’s alive!

Eight years ago, I split my blogging life in two. One blog, Notes from the Sinister Quarter, for my research into the Situationist International, as well as other related left-communist and post-situationist writings. The other blog, work & days of the antyphayes, for my stuff on science fiction, poetry, “creative” writing, collages, etc.

Since then, I’ve finished my PhD (on the Situationist International, available here) and reached an impasse (or three) with my blogs. Updates are few and far between, and a certain inertia has pervaded my interest and intentions for them.

So, in an effort to start again on a higher level, and so in a relentlessly Hegelian spirit, here’s the sinister science, enthusiasm revived and raring to go. Or so I tell myself.

On, through, by way of the sinister science I’ll tear down the walls between sf and the SI. Literally–“ROAR!“–as I plan on writing on the Situationists and science fiction; figuratively, because this wall does not, in fact, exist at all: everything is afflicted by the sinister science, and the sinister science afflicts all.

And in any case, we’re now prepared for just such a pandemic.

So why is it called the sinister science? Stay tuned.


The photograph above, of the Situationist Giuseppe Pinot-Gallizio, is taken from internationale situationniste, no. 2, December 1958, page 29. It was accompanied with a quote from Bernard Le Bovier de Fontenelle‘s Conversations on the Plurality of Worlds (Entretiens sur la pluralité des mondes, 1686). The quote in question–And the heat to which they are accustomed is so excessive that what we have here in the heart of Africa would be enough to freeze them”is from a section in which the inhabitants of the planet Mercury are discussed. I will return to the eminently science fictional content of Fontenelle and the association of this quote with the Situationist Pinot-Gallizio in a later post.