Kate's Playground Almost There

Madison on the road ... Tripoli ...

It is an event which the media persist in refusing to cause us last week, the revolt of the people of Wisconsin against their Governor Walker. This enacts laws that restrict government spending and trade union rights. Immediately the opposition parliamentarians "exile" in Ohio, preventing, February 21, the quorum to be reached, while 70,000 residents of Wisconsin will meet in Madison at the Capitol with the intention of staying there until the withdrawal of laws, consciously making this place a new place TIHR al. According to observers, this is a spontaneous movement. Noam Chomsky sees this as "the beginnings of the great revolt expected in the USA." Currently, 26 February, Walker comes to vote (by Republicans) an enactment enabling him to evacuate by force the Capitol in Madison. This "coup" has increased tension and caused a reaction from the Police Association of Wisconsin, who opposes the law and called the police in Madison and Wisconsin to participate in the occupation of the Capitol to alongside the protesters. To be continued ...

The wave of protest that killed Ben Ali, Mubarak, Gaddafi soon intensified in the World: Yemen Bahrain, Iran, Algeria, Morocco, Oman, etc.. Behind these revolts, more than the will of tyrants hunting, there are social demands, the proof is that the interim government in Tunisia is increasingly challenged, in Egypt, strikes are numerous and effective (the 24,000 employees of the largest factory in the country have received a salary increase ... 25%!) Even in China, the resistance is growing, strikes and protests are proliferating. Greece, on 23 February, the day of general strike has radicalized to the cry of "We will not pay!"

It is therefore a global wave and affects political systems very different, but united in the exploitation of workers. Hence the claims of dignity and social justice. We try to make us believe that the insurgents would fight for the establishment of Islamic regimes. Reality belies this Western propaganda that's all dictatorial system that is targeted ally or not U.S. interests.

States do not allow themselves obviously do, and the ruthless repression. Fighter jets shooting into the crowd in Libya, the army firing into the crowd in Yemen, Bahrain ... International solidarity all workers is higher than ever.

In France, the political links with the tyrants are all too obvious: MAM, Fillon are friends of Ben Ali, Patrick Ollier (POM) near Khadafi, as once claimed Saddam Chevenement Hussein ... This week, Sarkozy received the dictator of Gabon, Omar Bongo, with open arms. Not long ago, Gadhafi was camping in Paris, Strauss-Kahn had the eyes of Chimene for the "Tunisian miracle"!

We urge the people of the world to shake off the yoke of financial interests, petroleum, mining, destroying lives and the planet (Borloosien scandal of shale gas, for example). They are organized at the base to expropriate the exploiters, to rebuild a life based on solidarity, equality and freedom. In France, as elsewhere in the world is the motto that should dominate.

In France as elsewhere it is time to forget the smoke and mirrors that tends to make us believe that with a ballot in the ballot box, we will solve our problems! We will return soon ...

Forget for a quote: "When the strikes spread, communicate to the next, is that they are close to becoming a general strike and a general strike, with the prevailing ideas of liberation in today's proletariat, can only lead to a great cataclysm that would be revamped to society. We're not there yet, no doubt, but everything leads us there. But the people must be ready, he can no longer retract by the speakers and dreamers, [...], and why it must be highly organized and serious. "Mikhail Bakunin.

Aveeno Baby For Tattoos

«Journées d’éclipse» de Alexandre Sokourov (1988)

A vast poetic, the innumerable and inexhaustible reading levels, driven by work on the image and its own hallucinations. "Days of Eclipse (or" The day of the eclipse, "according to translations) is a film-world. The criticism could stop there, by abdicating the face of this senseless task: trying to rewrite and to the reader what can be perceived as the only means of this beyond what the meaning of poetry. However, without going into detail analysis of the film (to be done overnight, but impossible après une seule vision – à quand une édition DVD ?!?), je peux sans risque avancer quelques remarques générales sur cette œuvre. Libre adaptation d’une nouvelle des frères Strougatski, les maîtres de la science-fiction russe, «Journées d’éclipse» ne peut cependant pas être qualifié de film de science-fiction. La toute dernière séquence peut éventuellement, si cela lui plaît, orienter le spectateur vers une relecture fantastique du film : dans un plan sensationnel (qui n’est pas sans rappeler l’ultime plan de «Solaris»), Sokourov fait disparaître le lieu du drame, ce village turkmène emboîté dans the mountain. Was it ultimately a mirage? It would then perhaps reconsider the level of reality of what we have seen, and impossible to decipher in a work of interpretation (not in terms of objectivity, because this interpretation can be personal) the significance of many appearances of strange that dot the film: a conversation with a dead body moving like an animal, strange creatures that are preserved in jelly, etc. ... It should also consider the many allusions to the collapse of communism in the republics Soviet, fear of repression, the disquieting atmosphere of muted violence and diffuse threats. It certainly succeed in building something roughly consistent. But this is not the essence of the film. Most commentators saw it as a metaphor for the impossible freedom and the annihilation of all creativity in the framework of a totalitarian system. This reading is in my view simplistic and relies only on some of the evocations that causes the vision of the film. "Days of Eclipse" is a work that is lived and felt more than it becomes intellectualized, a work in which he must lose, let go, getting carried away by the dazzling poetic impressions that invade each plan. Visually, the proposed show is a dazzling beauty of each moment, Sokurov doing work properly crazy about light and color. The use of color reminds us of the "Element of Crime" Von Trier, made 4 years ago, but the comparison stops there, the Apocalypse sokourovienne having a density and depth of meaning absent from the Danish film. We are also surprised, when you know Sokurov, the nervousness of the camera, vivid and moving, which prevents the film from succumbing to lethargy contemplative, and maintains a real dramatic tension. The richness of sound work, with a very pertinent use of sound and voice-overs, is breathtaking ... You will understand, "Days of Eclipse" is a masterpiece, probably the greatest film that Russian cinema we have offered since the demise of Tarkovsky. [4 / 4]

Kidney Failure How Long To Live

«Syndromes and a century» de Apichatpong Weerasethakul (2007)

In my opinion, "Syndromes and a Century" remains to this day what Weerasethakul has made more convincing, and it's the little say. This leads me even to seriously reassess the rising talent of the young Thai filmmaker, as the film may find its legitimate place among the most exciting films of the past 10 years. Despite the unexpected directions that always follows the story (there has been much commented on the film's central caesura), "Syndromes and a Century" is a film that exudes great clarity, it could be said of purity, in its unfolding drama. Some would say rightly that this is the film for mature Weerasethakul. I prefer the word serenity. "Syndromes and a Century" wise is a movie, listening to the meaning of the wisdom of Eastern philosophies, and not like a movie taking no risk. Quite the opposite, there are few films as surprising as that may bifurcate at any time according to what interests, the moment the camera. We can then also say that "Syndromes and a Century" is a free film, as it seems autonomy of the camera and narrative. The conventions have not ordinary course here: the idea of primary or secondary characters have no place, no narrative chronology, Weerasethakul designing the time did not as linear, but circular. Nothing is also used to maintain the illusion of reality any film: the first sequence, while the camera slowly venturing into a natural green space, leaving the characters discuss overs (again this sense of empowerment ), Weerasethakul finds it unnecessary to cut off the microphones of the actors who comment on the scene so they just turn ... Then in the middle, the story goes away from the beginning, but in reverse, as if the film is looking into a mirror: the field is cons-field and vice versa. Only the scenery has changed, we went a small field hospital, surrounded by nature, a large modern hospital. Then it is feared the trap of mere formal game (remonstrate things from a different angle), or Lynchian puzzle, but soon the story out again on a different basis, focusing on neglected figures in the first part (the comparisons with Lynch seem very unfair on this point, the poetry of Weerasethakul flies to smaller games deconstruction of American filmmaker). The end of the film by in complete abstraction Weerasethakul letting the camera wander into the basement of the hospital (a long shot of a mouth aeration takes on a poetic density unexpected). A much more accurate reference would be the final sequence of "Eclipse" by Antonioni. Obviously, after such a comparison, the critic can dispense with the conclusions ... [4 / 4]

Long Skirts Look Good With

«Koyaanisqatsi» de Godfrey Reggio (1983)

"Koyaanisqatsi" is the first installment of the trilogy Qatsi series of 3 movies made by Godfrey Reggio and Philip Glass between 1983 and 2002. The purpose of these films is to make us see the world from an outside perspective, in a universal language (these are films music without words) to raise awareness about the dangers facing our civilization, on the biosphere, the perpetuation of a truly human existence on Earth. These films are collections of images from our world, and evoke a little in principle such documents presenting Earth and humans being sent into space bound for a possible extraterrestrial intelligence. "Koyaanisqatsi" is not a film purely objective, and casts a "conservationist" in the world, showing us initially a sovereign nature, then by linking images of activity men, clearly targeting the productivist system as responsible for the ongoing ecological disaster. You can see the ancestor of a film like "Home", but performed at a time when political ecology had not yet been completely emptied of its meaning (the film claims inspiration from the writings of Ivan Illich or Jacques Ellul). This is far in the background of this huge undertaking mental colonization that is the film by Yann Arthus Bertrand (see credits, where the logos of multinational corporations come together to write home), a film that will probably remain the larger propaganda operation of the new century. "Koyaanisqatsi" part of a base reflective therefore very rich and the approach developed by the director is very commendable. The images are mounted in the partition function, fairly successful, Glass, and any small object is a musical and visual friendly enough. Unfortunately, the film is largely devoid of any idea of cinema. We deplore the absence of a rapidly richer reflection in assembling these images that we've all seen (accelerated plans for people on the subway, mushroom cloud, nature view of the sky, etc.). Thinking about our condition is supposed to generate the film can certainly work, but it is not induced by the cinematic qualities of the film itself which is ultimately conducive to a stimulating this reflection point, a formal condition of the spectator . Laudable in its intentions, the vast image bank does ultimately of limited value if it is the music of Philip Glass. Nevertheless it would be highly urgent, instead of baptizing some new schools of business man named Arthus Bertrand (with his scandalous trade in carbon offsets), will broadcast the film of Reggio! [1 / 4]

Counter-strike Launch Options

«L’incompris» de Luigi Comencini (1967)

"A machine to make you weep." Thus Comencini aptly describes his own movie, shortly after realized. "Quite rightly" does not imply that I actually shed a tear either seeing "the misunderstood", as I am particularly insensitive to excess and pathos as if many emotions that I 'I felt at the end of the film (but the conditional use is required, the lack of emotions is precisely my biggest disappointment), it is rather the irritation and impatience ... No, if the expression of Comencini is correct, it is rather by the use of the term "machine" rather paradoxical approach Artistic elsewhere, which reflects the idea of mechanical work in the film. Mechanics who can be summarized as: lack son-father, attempted seduction of the son by a gesture towards the father failed attempt (mostly because of the little brother preferred), punishment of the father and the widening gap of misunderstanding. Back to square. And so on for 1h45. But to make this invisible redundancy Comencini must always add an extra degree in emotion (pathos in reality) to finally arrive at the long end sequence, a tearful summit, which is uncomfortable for its shamelessness. "The misunderstood" appears as a melodrama in which the components of pathos and sentimentality are pushed to extremes, everything (easily I want to say) decorated with the Piano Concerto No. 23 Mozart's course ... this excludes any subtlety, any depth of feeling, all poetry, Comencini hesitating to explain again and again to comment on each of the emotions, leaving no room for interpretation even a little personal viewer supposed to activate only one brain function: that of open channels lacrimal. There remain a few comic sequences somewhat apart, designed by Comencini be breaks in the gradual ascent sentimental film, which eventually become the most interesting passages, recalling that the filmmaker excels more in the comedy and laughter in the tears. "The misunderstood" is often regarded by critics as one of the greatest films in the history of cinema on the inner world of the child. For my part, I moderate this position, and that's an understatement, as the film can not bear any comparison with "The spirit of the beehive" in Erice, some works of Bergman, or the early films of Kiarostami ... [ 1 / 4]

Bachelorette Catchy Phrases

Participatory Democracy, Arles sauce ... Stand

Among the thousand and one uses trinkets capitalist democracy to believe that elected officials derive their legitimacy (and serve) the sovereign people, the most popular are the Sustainable Development and Participatory Democracy . While it is obvious that political leaders consider financial markets as their main sponsors (we saw with the pension reform will be discussed soon with the safety), the only ones they have real accountability, stirred before the people empty concepts, but allow it to still believe (some) control of the situation.

Just read in the last newspaper propaganda City ( Arles Info No. 149 - February 2011), article entitled giving citizens a voice to be convinced. There are IQC, a council of elders (wise, hugh! ...), a youth council ... Everything is for the best in the brave new world democratic Arles ...

But ... CIQ's work around the elect "... but ... the councils of elders, or young, are not elected by the people ... and work on subjects' "proposed by the mayor." There is no better coach to speak. A confession is in the text: "The challenge is to build a team Youth Representative Arles ...». And who decides this representativeness? The answer is in the quotes above ... When the subjects discussed ... "We are studying how to revitalize historic buildings so that tourists stay longer ..." vast and exciting program ... of great interest to workers in a city that pauperizes ... And the mayor is holding the whistle announcing the end of recess: "It is always good that people are informed about issues and sometimes the complexity of cases. Then everyone stays in his role." Finally the sincerity!

The participatory democracy is to politics what the Toyotaism is the modern enterprise. IQC is equivalent to the "quality circle". These give the illusion of power from the workshop (this is a very popular word of those who have never worked ...) but this power is truncated because beyond speech, it is always the same ones who have the final cut . We recommend that the municipal team to engage in the participatory budget (as advocated by the revolutionaries rabbit skin) to stage even more cynical l'enfûmage... Décidons tous ensemble quel trottoir doit être restauré ! mais laissons à monsieur le maire ses Ateliers, pour y développer sa tour d'aluminium et transformer Arles en bronze-cul culturel, avec ses vrais amis (voir en dernière page du même mensuel l'article "tête de... réseau", éloge d'un huissier sympa... et légèrement patronal)...

Que tout change pour que rien ne change ! Voilà la Démocratie participative...

Les communistes libertaires ne peuvent cautionner ces mascarades, et appellent à créer et à développer de vrais contre-pouvoirs : des CIQ, des conseils de sages et de jeunes, why not? but independent powers, giving himself means shares to their demands, social, cultural, to create an alternative the company is profit, and authorities who protect it. Examples exist, such as AG Nimes, or at Sete, Montpellier, Ales, Poitiers, Chambery, etc.. All this is admittedly embryonic, but shows the way forward.

For new practices at the base, which would allow the expression and organization of the revolt, we could all together and respecting our diversities, the emergence of a new consciousness of our strength, which would refer Participatory Democracy sauce liberal or social democrat, in the dustbin of non-recyclable waste.

Which Smirnoff Ice Flavors Taste Best

«Un soir, un train» de André Delvaux (1968)

"One evening, a train" is a beautiful film, distils a strange atmosphere, flirting openly with the fantastic, and reveals many of its qualities after viewing. As the film begins, we follow the lives of Matthias, a professor of linguistics at a university in Flanders. Delvaux here uses a very realistic point of view and filmed various times of day Matthias (with her mother at the university, with her friend Anne). It is not about a simple "introduction" of the film discreetly by successive accumulation, the main theme is announced: the inability, torque, and death, with scenery very representative, the partition Belgium. The film seems to sow clues, as a warning to Matthias and an invitation for the viewer to focus attention on these small grains of sand that will enable a better understanding of containment that will follow. Warning that Matthias would not therefore hear, nor did he managed to listen to his mother from the first sequence, or her friend Anne at the scene of the meal. Then the film begins its break after an argument, Matthias takes the train. Anne eventually join. Matthias sleep and waking, Anne disappeared. That's when the train is stopped in the middle lane. Matthias descends, accompanied by an old man in search of her friend. A student, Val, joined them, then the train leaves without them, in an eerie silence, leaving them on the side ... Followed the wanderings of these three characters in a desolate, muddy. They were finally able to join a ghost town where people have very strange behavior and speak a language unknown to the teacher ... Delvaux introduced various dream sequences and highlights some souvenir pictures of Matthias, already with this incredible sense of connection, which boosts up stage (so that close to perfection in his next film, "Rendezvous in Bray). The three men find refuge in an inn run by an eerie silent servant. The strangeness of the situations ne peut alors plus laisser Matthias indifférent… Je garde au lecteur le plaisir de la chute qui, si elle n’étonnera aucunement le spectateur aguerri au cinéma fantastique, n’en reste pas moins une vive incitation à la relecture réflexive du film. Relecture qui révèle alors des trésors symboliques et des richesses poétiques étonnantes. Quelque part entre le «Je t’aime je t’aime» de Resnais et «Le charme discret de la bourgeoisie» de Buñuel, imprégné d’une étrangeté poétique héritée du «Vampyr» de Dreyer et toujours cette douce poésie propre au réalisme magique de Delvaux, «Un soir, un train» est un film magnifique, qu’il est indispensable de découvrir. [3/4]

Does Sony Vegas Suport Wma?

«Few of us» de Sharunas Bartas (1996)

Quelques plans d’une ville industrielle, là-bas à l’est. Une jeune femme qui contemple l’immensité des paysages sibériens à travers le hublot d’un hélicoptère. Puis la voilà larguée au milieu de nulle part. Que vient-elle chercher dans cette terre reculée? Peut-être retrouver ce sentiment de liberté pure, première, qui consiste simplement à mettre un pied devant l’autre, sans qu’aucun élément extérieur not come to impose a preferred direction ... This need is felt sometimes faced with a society in which life is directed arrow. But this is only personal suggestion because it is a film that explains nothing, it's "Few of us". The girl eventually reach a village where people live damned to which civilization has managed to bring the alcohol and weapons. A nation that is perhaps more a people endangered, as they say of an animal species. And the parallel is not insignificant: perhaps never life had been filmed, in its most instinctive, if not in the animal films. Bartas film dutifully gestures, faces, without comment, with a look somewhere between the poet, ethnologist and landscaping. A distant cousin of Derzou Ouzala smokes endlessly the same butt and shares his bread with the girl in a gesture to the natural and obviously that goes beyond words (which the film is also free), which brings us back to the origins sociality. An old woman asleep compulsively unveils a toothless mouth grimaces in the wake repetitive. It's hard ... Then the film changes pace a distant and primitive form of narration seems to be implemented. There's a party where they drink. Two men running around the girl (again we find a very animal behavior) is preparing a rape. Then a burst, a slap, a murder (or two?). We must flee. The young woman is followed by an Asian black look, which seems to protect it. He is stalked by a man who looks in the fog during a sequence that is reminiscent of the riders lost in the mist of the "Castle of the Spider." It was almost like watching a western tribal. The film ends with a shot. The girl now swollen face observed in the distance the helicopter comes to fetch her. The snow and cold invade the Sayan Mountains. End. It is superb. "Few of us" is a movie of this, a fascinating movie experience. [4 / 4]

Blueprint A Snowboard Box

«Cochon qui s’en dédit» de Jean-Louis Le Tacon (1979)

"which would forfeit Pig" is a film that is attached to the militant cinema, this film movement of the 60s and 70s forgotten by history " official "film. Yet it would be wise to consider now the influence that this gesture film had on modern cinema (Especially on film or documentary called social). Talking about cinematic gesture is quite suitable here since it is a reinvention (recapture) of how to make films, thanks to Super 8 cameras, lightweight and affordable, and make accessible film to a whole each: in an era of great political turmoil, with a critique of capitalism and consumerism increasingly radical and relevant, students took to the streets to film the demonstrations, workers strikes film their experiences and the film becomes a tool for advocacy and empowerment. So politicized cinema. But if "that would forfeit Pig" is a movie as strong and as effective in his description of this machine to crush the human productivism what is more for its purely artistic qualities, Le Tacon dotting its visions of horror film and dream sequences especially suggestive. "Pig would forfeit that describes the daily life of Maximus, a pig farmer in a pig above ground, a kind of pig Auschwitz (the parallel with the extermination camps was repeatedly stressed by Maxim himself). Filmed in the style of Jean Rouch (total immersion in work and la vie de Maxime qui commente après coup les images tournées), «Cochon qui s’en dédit» est construit autour de cercles dantesques, un peu à la manière du «Salo» de Pasolini, nous enfonçant toujours un peu plus dans l’horreur : celle vécue par les porcs, et celle subie par Maxime. Endetté, aliéné, Maxime est obsédé par la porcherie, est hanté par la maladie et la mort, est poursuivi par l’odeur de la merde. Il est possédé par son outil de travail, jusque dans ses rêves. Et Le Tacon ne se contente pas de le laisser parler et exprimer ses angoisses, il les met en images, comme cette puissante séquence onirique dans laquelle Maxime jette désespérément of dead piglets in the plot of the neighbor, dead due to it inevitably ... "which would forfeit Pig" is a challenging film, which can not come out unscathed (it had been years since I had not looked away from a movie screen, supporting what had hardly shown). A film that draws the riot, as the saying Leboutte essayist. But above all, a film that, while belonging to militant cinema (which is where the top), is first and foremost a work of staging a work of cinema, a work of art. [3 / 4]

Nerve Damage After Brazilian Wax

«Un Condamné à Mort s'est Échappé» de Robert Bresson (1956)

    Un film fiévreux, acéré, sombre, puissamment poétique, tout en émotion contenue, comme tous les films de Robert Bresson d'ailleurs. «Un Condamné à Mort s'est Échappé» c'est bien évidemment un long métrage relatif à l'évasion d'un résistant français d'une prison tenue par les allemands durant la seconde guerre mondiale, donnant lieu à de fameuses scènes de suspense servies par une esthétique ascétique extraordinairement suggestive. Mais c'est avant tout la métaphore de la vie même, du combat qu'il faut mener face à l'oppresseur, face à ses camarades qui flanchent, face à son corps qui lentement dépéri, face à son esprit qui cesse de croire en l'impossible. «Un Condamné à Mort s'est Échappé» est un vibrant plaidoyer pour la liberté et le salut de l'homme, rendus possible à force de détermination, de courage, de ténacité. «Un Condamné à Mort s'est Échappé» c'est le triomphe de la volonté sur la matière et l'esprit : il n'y a qu'à voir comment les autres prisonniers vivent au rythme des tentatives d'évasion des uns et des autres, la fuite de l'un leur redonne espoir, l'échec d'un autre les désespère... Yet Fontaine is anything but a "superman" or a saint, he is profoundly human: he hesitates, mistakes sometimes and mostly has to kill to escape! Bresson knows therefore afford to share in his dark feature. For the rest his film is really admirable, but certainly visually just as a sound point of view: the sounds have rarely been so important, it should perhaps go back to Fritz Lang and the beginning of the talkies to find such a purity in their jobs! "A Man Escaped Sentenced to 'is perhaps the best gateway to the cinema of Bresson, if its control is not there yet (although it is considerable: Mozart is not used much here as Bresson's art is strong), it is one of his few films follow a narrative "Classic", namely the timing of an escape, the smaller preparations doubts or barriers to it. It therefore follows with great interest the mad adventure of Lieutenant Fontaine, but can be as much dwell on the reading levels of other feature, which makes a work that meets the expectations of all types spectators in my opinion. One of the first masterpieces of the master of French cinema. [4 / 4]

Calories In A Bowl Of White Rice

«Ruhr» de James Benning (2010)

A very nice documentary! In a deep well, which makes a kind of meditative work of the most significant. "Ruhr" is 7-level fixed sequences, and therefore 7 ideas for staging. It's little, but the relevance of framing of James Benning is such that it takes him no more to give to see a vivid picture even if the region fragmented German namesake. On the aesthetic point of view, "Ruhr" is a model of control of the plan: each element can be moved with a grace unparalleled, whether a falling leaf, smoke escaping from the chimney of a factory of men praying at the mosque, the ballet of machine tools ... The man is everywhere in this feature, not by a direct physical presence but by its production, his work, traces his life: each plane is crossed by one or more elements of the industrial age that is ours, and we can observe with curiosity interaction relatively near or far from the man and his environment (as often between man and nature is the tool). As the smoke from the factory in the background clouds, how the wind sweeps the plane trees, as the sound of human activity echoes in the vastness of the sky. It is striking that the only time we find ourselves really close to people just when they were praying in one clip so that more is in the middle of the film so that the man between "real" little by little in the feature film soon to vanish, in an echo back through the chimney of the factory and the night falls. Both the image than the sound, "Ruhr" is a film of great subtlety, driven by the ability to play Benning with the framework and time. In contrast the poetry of "Ruhr" is of course relative: it's contemplative film par excellence, the art of James Benning is precisely the erasure of the artist, besides Benning is perhaps more a filmmaker photographer (if such a statement is meaningful). I'm more reserved about the aspect of "art" of this film: it certainly makes us ponder the seventh art and man, and it is not the least of its merits, but I can 't stop to wonder how far can we go in the record of a pure and simple "objective" reality ... Anyway the meaning attached to Benning its framing and its installation, the choices he makes, the subjectivity of his eyes dissolve the slightest doubt about his contribution and his creation, but we can discuss its scope. And fortunately, he (m ') is difficult or impossible to decide! [2 / 4]

Aggressive Dog Jumping On Fence

AL

The Libertarian Alternative collective will of Aries on

market Arles

Saturday, January 8 (side farmer's market, after the bandstand).

Awaiting you there!

1981 Arctic Cat Spark

The general strike, what has aco '?

Following the public meeting on 14 December (see message du 21 décembre), nous nous interrogeons aujourd'hui sur la signification du concept de Grève générale .

Cela fait maintenant quelques années (1995, mais surtout 2003) que l'idée de grève générale est sur toutes les lèvres, dans toutes les têtes. Cette idée semble aujourd'hui presque naturelle : une grève générale serait l'expression d'un moment fort venant au bout d'un processus de luttes pour faire aboutir des revendications...

On a entendu parler de Grève générale récemment en Grèce, en Espagne, etc. Les média aiment bien utiliser le mot... pour l'étranger. Cela permet de le banaliser. Ce à quoi we have seen is nothing more than "action days" fashionable hexagonal, more massive, given the capital intensity of attacks against those countries.

And if the general strike was something else ... something larger ...

We must return to the genesis of the idea. And for that, talk about the history of the labor movement, a little forgotten. Who knows Emile Pouget, Fernand Pelloutier Victor Griffuelhes? Yet these are among the founders of the CGT ... and CGT was founded on the idea of General Strike.

(Obviously, the CGT was careful today to refer these ancestors then ... Yet to whom could she turn? Jouhaux? But it was he who created CGT-FO ... The CGT would she born with Benedict Frachon (forgotten too ...) The CGT would it been at all times a central union stalin ... er ... Communist? Well no, the revolutionary syndicalist CGT was born! Things were a little more complex, certainly, and reformist currents were important, but even the Reformers, the CGT was fighting "for the abolition of employer and worker" ... A whole era ... abolished in 2000 by a Congress of the CGT, erasing the Charter of Amiens in its statutes. This small cross-road lights just the positions of the CGT today ...)

The General Strike in the spirit of revolutionary syndicalists, was a continuation of the idea of the "strike of crossed arms" which runs from the Chartists English, in the fighting of 1831-32 Canuts Lyon, through the First International, ended in the first period CGT. They believe that workers should guard against two dangers: electoral politics (which is to entrust its class interests of the bourgeoisie), and partial strikes (local) which can only turn to the ultimate benefit of employers ( which will take sooner or later the accrued benefits). It seems strange today: CGT refuted the claims for increased purchasing power: it was just the carrot that is put in front of the donkey to move forward, carrot quickly eaten by the increase prices. Were they really wrong?

For the CGT, the General Strike was ... revolution. Not the palace revolution (or other winter season ...), but the Revolution in that the labor movement expropriated owners, and was organizing itself to work the machine produces its own use . The general strike, it was not something else that self-management! And self-management, is not another name for the revolution?

And how that would happen? These militants were not utopian. They did not think that the general strike could declare overnight, any more than Bakunin, earlier (unlike Engels sarcasm). For this he had to organize the productive forces, apart from the bourgeoisie, far from it, to be ready one day to spend with her. The CGT does not think like a "social partner", but as an opponent of both the bourgeoisie and its iron hand: the state. Hence a political union based on anti-parliamentarism, anti-statism (anti-patriotism, anti-militarism). You must read the texts of the union time to realize the violence of the propaganda on these topics there. For

Pelloutier, to reach the general strike, it was necessary for workers to acquire "the science of their distress," to be aware of their status in the economic process, to transform it. No general strike of workers without education, not education "intellectual", but practical, popular education. The Labour Exchanges were to have this feature : Putting in masses of workers ability to do the "big bang", not necessarily a "big night", but over time (although Pouget Pelloutier and others did not ignore the violence probably necessary at one time or another: the haves do not like being robbed!)

The general strike was therefore a horizon more than a slogan on time. Georges Sorel was what called a "founding myth" of the labor movement, ie a fund "cultural", without which the proletarian movement could not exist as such. In this he was opposed to the deterministic view of Marx : The working class was not, in itself, and inevitably, the gravedigger of capitalism. It was not enough to wait for the final crisis, he was working there.

It is understandable that all forces allied to the bourgeoisie, or wishing to replace the user to turn their domination over the workers, did not see the idea of a general strike in the better eye. The reformist socialists, communists authoritarian, to mention only those self-proclaimed "representatives" of the working class, had no words strong enough to defuse the myth that ultimately only listed this beautiful Expression of the First International : "L'Émancipation des travailleurs sera l'œuvre des travailleurs eux-mêmes."

On trouva le moyen — trouble — d'éliminer cette équipe fondatrice de la CGT : Pelloutier était mort en 1901 ; Griffuelhes démissionna sur des calomnies, Pouget, écœuré, fit de même. Nous étions en 1909. La CGT des origines, syndicaliste révolutionnaire, avait vécu. Léon Jouhaux prit les rênes de la CGT, la vendit à la bourgeoisie, et, malgré le combat acharné des Merrheim, des Pierre Monatte, envoya la classe ouvrière, sous prétexte d'Union sacrée, se faire étriper dans les tranchées en 1914.

Et bien, aujourd'hui to hear about General strike indiscriminately, it begs the question: What is meant by that?

For us, it is clear: we fit the line of Pouget, of Griffuelhes, the Pelloutier. The general strike is the self-management is expropriating the Revolution.

It is prepared when?

And how?

-----
To go further:

* General Confederation of Labour (Commission of propaganda of the general strike), "The revolutionary general strike", journal Agone, 33
* Emile Pouget

The genesis of the idea of a general strike
http://www.pelloutier.net/dossiers/dossiers.php?id_dossier=111&idparent=43
* anarchie23:
The General Strike
http://anarchie23.centerblog.net/6582848-La-Greve-Generale

Scotch Green Bottle, Starts With L

«Nathalie Granger» de Marguerite Duras (1972)

What a great movie! And what a wonderful beginning! It only takes a few minutes for it suggests Marguerite Duras and recreates the world of childhood: an enigmatic house, a few piano notes played by a trembling hand, a doll abandoned ... Damage que le reste du film ne conserve cette intensité poétique admirable... Heureusement il soutient tout de même quelque peu la comparaison, et si «Nathalie Granger» ne relève pas de la pure perfection c'est indéniablement une grande réussite! L'influence de Bresson se fait ressentir, surtout par cet art de la retenue et la vive émotion qu'il évoque subtilement, mais Marguerite Duras parvient à transcrire son intériorité par ses propres moyens : les gestes ont une grande importance par exemple, non pas pour eux-mêmes comme ce pourrait être le cas chez n'importe quel vulgaire formaliste cinématographique à la mode, mais en ce qu'ils révèlent de l'être qui se meut, de ses feelings, his attention to another of his love ... So with a great economy of means Marguerite Duras manages to give life to the most moving moments. It also takes risks, as with this sequence stretched beyond reason when you discover a Gerard Depardieu unrecognizable as it fills the screen. Gosh I've never seen so good! It delivers a performance on the razor's edge, is expected every second that elapses when he stumble, where his game will ring true ... but the moment never comes. Alas the author has failed to leave the state this pure moment of grace (already extremely fragile) by underlining it later in the film with words that explain too much and a return Depardieu awkward ... Shame because these little problems that dot the feature as we advance tarnish those moments of bravery and this strange atmosphere out of time. For the rest of this French artist gives us unforgettable portraits of mother and daughter, she has skillfully evoke the essence of motherhood as may represent the child, combining mystery, fear and desperate quest love, collusion or otherwise misunderstanding and physical distance as sentimental. A work so rich and successful, to do without hesitate! [3 / 4]