Preliminary Conditions of Force

“Just as Crusoe could procure a sword for himself, we are equally entitled to assume that one fine morning Friday might appear with a loaded revolver in his hand, and then the whole ‘force’ relationship is inverted. Friday commands and it is Crusoe who has to drudge . . . So, then, the revolver triumphs over the sword; and this will probably make even the most childish axiomatician comprehend that force is no mere act of the will, but requires very real preliminary conditions before it can come into operation, that is to say, instruments, the more perfect of which vanquish the less perfect; moreover, that these instruments have to be produced, which also implies that the producer of more perfect instruments of force, vulgo arms, vanquishes the producer of the less perfect instrument, and that, in a word, the triumph of force is based on the production of arms, and this in turn on production in general—therefore on ‘economic power’, on the ‘economic order’, on the material means which force has at its disposal.”

—Friedrich Engels, Anti-Dühring. trans. Emile Burns (New York International Publishers), pt. 2, chap. III (The Force Theory), 184.

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Ursula Le Guin on Capitalism

I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries— the realists of a larger reality . Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river. ... The name of our beautiful reward is ...

The Qarmatians (Al-Qaramita)

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UK

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"The 20-year evolution of modern independent Middle Eastern cinema has been exciting, unpredictable, and in some cases, awe-inspiring. A few masterpieces have been made, such as Ala Eddine Slim’s Tlamess ; Shahram Mokri's Fish & Cat ; and Annemarie Jacir’s Wajib . Documentary filmmaking has experienced a major leap in form (see for example the likes of Suhaib Gasmelbari's Talking About Trees ; and Raed Andoni's Ghost-hunting ). And film-makers have gained the confidence and experience that previous generations lacked. But foreign money and international exposure have come at a price: the subject matter of films has become repetitive; simplistic liberal politics have become mandatory; and formal experimentation has become a gimmick rather than genuine artistic expression. People tell stories partially to redress historical silences, but if the stories and the resulting images are so ubiquitous, then what’s the point? And if the message and sentim...

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Street art

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