The
Anarcho-culture
In
Anarcho-culture,
one
lives
the
free
game
of
all
codes
which
occur
in
world
of
networks,
thus
breaking
with
all
transcendent
institutions
based
on
authority
and
unicity,
provoking
an
uncontrolled
heterogenization
which
cannot
be
caught
by
any
apparatus.
It
happens
as
a
perpetual
cultural
transformation,
where
“cultural
authority”
can’t
exert
any
power
over
its
manifestations;
pure
connectivity
that
escapes
the
concepts,
the
authority,
and
those
who
want
to
impose
a
form.
Don’t
expect
epiphanies
or
ontological
originalities,
heroic
avant-gardes
or
teleologies
of
emancipation,
but
a
virtual
world
full
of
potentialities,
where
a
free
game
happens
among
its
codes,
a
free
game
of
the
diagonals
which
cross
all
the
plains,
all
the
disciplines
that
interweave
the
heterogeneous
multiplicities
in
a
free
game
of
connections.
Replications,
samplings,
paraphrases,
strategic
connections,
heuristic
resendings,
creative
alterities
are
its
modes
of
acting.
The
new,
the
old,
none
of
these
things
matter
any
longer:
they
stayed
in
the
far-away
past
of
historical
modernity.
Those
goals
have
lost
their
forces,
they
became
academic,
too
academic.
In
the
societies
of
virtual
networks,
one
lives
an
immanent
need:
the
indiscriminate
potentialization
of
its
micrologic
(nano)
parts.
All
will
be
potentialized,
provoking
an
extraordinary
indeterminate
production
of
the
absolute;
control
and
discontrol
happen
at
the
same
time,
but
they
will
always
be
assimetrical.
No
longer
the
equation
State/Revolution
=
State,
but
Empire/Attack
=
Attack,
i.
e.,
global
instability
and
permanent
temporal
unexpectancy.
Then
the
Anaximandrian
apeiron
(unlimited)
can
coexist
in
the
contemporary
virtual
machination
in
such
a
manner
that
it
becomes
a
pre-conceptual
instance
of
all
virtual
networks.
We're
no
longer
in
the
age
of
"post",
but
of
"pre".
The
theory
of
non-linear
networks
and
anarcho-culture
demand
a
pre-conceptual
instance;
pre-formal;
pre-philosophic;
pre-metaphysical;
pre-structural;
pre-historical,
without
which
we
won't
get
free
of
concepts,
forms,
philosophies,
metaphysics,
structures
and
history.
This
"pre"
region
is
the
instance
of
free
intensities,
where
no
arché
(principle)
can
survive
or
install
itself;
it
has
no
beginning,
no
principles,
because
its
nature
is
pure
immanence,
pre-subject
and
pre-object,
a
virtual
philosophic
prelude.
On
the
other
side,
God,
ideas,
principles,
axioms,
concepts,
foundations,
causes,
egos,
political
states
are
beings
originated
from
a
millenary
metaphysics
based
on
the
arché,
where
the
beginning
is
a
principle,
foundation
of
a
system
that
is
intended
to
be
installed.
They
are
coagulating
and
centralizing
points
of
monopolizing
power
long
introjected
and
fixated
in
our
minds
(fixed
ideas).
When
do
we
definitely
free
ourselves
of
the
platonic
and
aristotelic
heritage?
Pre-philosophy
conceives
another
landscape,
whose
nature
is
made
of
an
anarchical
immanence
by
excellence.
A
landscape
without
gravitational
points
of
centralizing
power,
with
multiplied
speeds
connected
in
dynamic
networks,
whose
points
are
not
points,
but
other
dynamic
networks,
constituting
an
inexact
pre-metaphysical
topos
whereby
the
intensities
flow,
heterogeneously
recreating
themselves.
Hence
anarcho-culture,
where
networks
constitute
life,
frees
itself
from
monopolizing
points
of
power,
but
also
from
the
hylemorphic
vision
of
the
philosophical
past,
where
form
always
formatted
matter.
No
concept
can
explain
it,
no
form
can
retain
it.
One
can
affirm
its
nature
is
informal
and
pre-structural:
pure
performance,
because
the
replications
and
samplings
of
intensities
and
codes
refrain
its
crystallization
into
concepts,
forms
or
egos.
Identity
suffers
an
attack,
it
becomes
another
thing.
Pierre
Menard,
author
of
Borges’
Don
Quixote,
and
Sherrie
Levine’s
photos
illustrate
the
attack
to
authorship
and
demonstrate
the
paradoxical
transformation
suffered
by
the
work
replicated
by
them.
No
work
will
ever
be
the
same
after
replicated
(Cultural-Clone).
The
continuous
replication
of
the
other
and
itself
(Cultural
Auto-Poesis
+
Cultural
Alterity)
destroy
the
original
one,
in
order
to
transform
it
into
a
multiplicity
free
of
the
arché.
In
anarcho-culturalism,
all
cultural
production
is
there
to
be
replicated,
altered,
lacerated,
slashed
and
contaminated;
everyone
will
be
able
to
make
“art”,
everyone
will
be
able
to
make
music,
you
just
need
to
“destroy
them”
(replication,
sampling);
the
goal
of
anarcho-culturalism
is
the
making
and
experimentation
of
the
absolute
OTHER.
In
the
universe
of
alterity
both
time
and
space
become
non-linear
and
non-homogenous:
pre-time,
pre-space.
There
is
no
more
a
unity
of
space,
a
spatial
substance
or
a
spatial
form.
In
pre-space,
where
the
arché
was
withdrawn
as
a
constituent
element,
there
remains
only
anarcho-space,
whose
inexact
dimensions
connect
infinitely
to
each
other;
extension,
gone
virtual,
liquefies
the
geometrizing
solidity,
creating
a
strange
link
between
time
and
space,
or
what
could
be
called
catatonic
time
(anarcho-virtual-time).
It
is
the
time
of
non-linear
networks,
in
a
strict
connection
to
time
and
virtual
space.
Neither
sequential
or
simultaneous
continuity,
nor
limitating
atomized
instants,
but
strategic
stops
(temporal
epokhe),
where
time
passes
with
nothing
passing,
with
a
zapping
of
discontinuous
fluxes,
and
in
this
case
there
is
a
temporal
leap,
where
time
doesn’t
pass,
exceeding
all
speeds.
The
temporal
epokhe
(suspension)
happens
when
time
replicates
itself,
appearing
as
absent
time,
hence
becoming
spatial;
the
faster
the
temporal
replication,
more
spatial
it
will
seem.
A
very
illustrative
example
of
this
situation
of
temporal
suspension
appears
in
Richard
Serra’s
One-Ton
Prop
(House
of
Cards),
where
four
lead
plates
are
propped
against
each
other
in
such
a
way
that
they
keep
vertical
just
because
of
the
reciprocate
tension
between
them.
This
tension
was
called
prop.
The
great
novelty
of
this
sculpture
is
that
it
no
more
inhabits
only
space,
but
also
time.
It
only
exists
while
its
parts
keep
leaning
against
one
another,
but
time
is
not
felt
as
passing,
but
as
in
abeyance.
This
work
makes
a
mixture
between
space
and
time
and
displays
a
new
space-time
dimension.
Another
example
of
space-time-prop
are
the
digital
computer
screens
as
manipulated
by
Doug
Engelbart’s
invention,
which
remains
in
a
state
of
temporal
suspension,
waiting
for
the
user’s
interaction
to
make
a
leap
to
another
orbit.
The
interaction
pressuposes
a
temporal
epokhe,
because
without
it
we
would
be
trapped
in
a
continuous
flow;
we
would
be
slaves
to
the
temporal
linear-analogical
automatism,
for
there
has
never
been
anything
libertarian
in
the
analogical
media;
we’d
be
slaves
to
chronic
time.
Remember
the
revolutions
(temporal
epokhe),
when,
against
the
oppressive
time,
clocks
were
shattered.
Suspension
and
leap
are
the
two
faces
of
catatonic
time.
Suspension
is
the
strategic
moment
of
decisions,
volitions
and
desires.
It
can
last
all
the
time
or
an
unperceivable
fraction.
On
the
other
side,
the
leap
happens
in
the
temporal
flow
that
brings
in
itself
the
possibility
of
suspension
at
any
time,
causing
a
transformation
in
the
nature
of
time
and
of
whatever
happens
in
it,
producing
an
indetermination
with
respect
to
the
temporal
direction.
They
are
becomings,
yet
the
leap
can
also
be
clonic,
causing
multiple
interconnected
temporal
directions.
In
the
digital
world,
they
can
happen
through
multiple
linkages
between
the
orbits,
or
through
multiple
superimposable
windows
developed
by
Alan
Kay.
The
time-space-temporal
connection
(catatonic
time),
and
the
free
anarché
intensities
inaugurate
a
new
form
of
experimentation
and
cultural
liberation.
Mass
media,
on
the
contrary,
as
producers
of
“mass
culture”,
imposed
a
linear
form
temporality
to
the
masses,
enslaving
them
through
a
continuous
and
unrestrained
flux
of
disempowering
signs,
making
a
devaluation
of
the
Public
and
the
Culture.
Linear
time
was
responsible
for
the
generalized
massification
of
the
modern
public
and
a
meta-narrative
vision
of
history.
A
complex
and
anarchic
mentality
imposes
itself
to
contemporary
culture:
anarcho-culture.
It
happens
when
the
cultural
authority
can
no
longer
exert
its
power
over
cultural
manifestations
or
its
producers;
when
the
products
are
no
longer
marketed;
when
the
products’
value
does
not
depend
on
the
sacralization
or
the
property,
but
on
its
capacity
to
potentialize
the
agents
whom
it
connects
with;
when
the
cultural
producer
liberates
himself
from
his
ego,
from
his
name,
from
the
innocuous
pretension
to
enter
history,
and
then,
by
deterritorializing
himself,
he
can
take
part
of
a
more
complex
scheme,
where
the
sense
created
by
the
author
is
replaced
by
strategies
of
multiple
senses
in
co-authorship
with
its
interagents;
when
the
cultural
product
stops
being
linear
and
analogic,
and
becomes
a
ubiquitous
system
of
interactive
complexity
emphasizing
its
immersive
and
biocultural
aspects,
therefore
turning
into
a
machine
of
cultural
transformation;
when
there
is
no
more
a
proper
world
of
the
arts,
sciences
or
any
other
discipline,
but
the
free
game
of
diagonals
that
cross
all
the
plains,
all
the
disciplines
and
that
interweave
the
heterogeneous
multiplicities
in
a
free
game
of
connections.
Anarcho-culturalism
is
the
culture
of
the
state
of
nature
of
digital
networks
(cyber-nature/digital
culture).
It
is
pre-state,
pre-contract,
pre-rights,
pre-duties.
New
tribes,
new
communities,
new
travellers
inhabit
there,
but
also
new
strategies
that
destabilize
the
world
of
the
arché.
There’s
no
longer
an
audience
to
be
reached
(Target
Public),
but
communities,
collectives
and
networks
which
become
more
and
more
immune
to
marketing
campaigns
and
strategies
of
advertising.
From
the
passive
public,
manipulated
mass,
“mass
of
maneuver”,
by
which
the
analogic
media
took
away
its
energy,
we
passed,
through
cyber-nature,
to
intercommunicating
communities;
to
the
intelligent
collectives;
to
the
strategic
networks,
to
anarchic
and
transforming
war
machines
(Cultural
Virulence).
Ricardo
Barreto
(file.org.br)
