The Autonomous Action Radio team are back having morphed AnarchyShow into Subversion #1312.
Because we want to subvert the system and hate cops – ACAB (1312)
Let’s acknowledge first of all that this quiz we used for our test about what sort of anarchist are you is purely and simply a vehicle for market research on the behalf of evil multi-national corporations. Mark Tropicana suggested using this so we’ll blame him.
We take no notice of marketing anyway so us having used that quiz which was really quite ambiguous will have no actually real life ramifications.
Press release #15 from 8 July 2017
On 7th July 2017 the G20 summit in Hamburg officially opened – the protests on the other hand had started long before. Although 15.000 police officers were present in the city already the deployment of further police forces was requested and approved. Nevertheless the police lost complete control over some parts of Hamburg during the night after opening day. Neither the use of more than 20 water cannons nor armed vehicles, neither the massive use of riot control agents nor physical assaults made it possible to regain control. Ultimately even heavily armed special riot control squads were patrolling in the streets.
View original post 262 more words
Much like our own governments and media fuel hatred and resentment about refugees so too does the Iranian government about refugees from Afghanistan who have crossed their border seeking safety from war.
This is a story of a massacre of 630 Afghan prisoners at the Safed Sang (White Rock) refugee camp after they began to protest the aberrant conditions they were being kept in.
There is no happy ending to this movie as 2 Iranian helicopters arrive and open fire.
To the people of Standing Rock, with love, peace, and prayers. “How The Protectors Defeated The Black Snake” -Art Alley, Rapid City, SD #NoDAPL
Energy Transfer Partners and Sunoco Logistics Partners Respond to the Statement from the Department of the Army
Business Wire, December 4, 2016
Energy Transfer Partners, L.P. (NYSE: ETP) and Sunoco Logistics Partners L.P. (NYSE: SXL) announced that the Administration’s statement today that it would not at this time issue an “easement” to Dakota Access Pipeline is a purely political action – which the Administration concedes when it states it has made a “policy decision” – Washington code for a political decision. This is nothing new from this Administration, since over the last four months the Administration has demonstrated by its action and inaction that it intended to delay a decision in this matter until President Obama is out of office.
View original post 235 more words
When the Australian immigration department incarcerated Behrouz Boochani, a Kurdish journalist fleeing the oppressive Islamic regime in Iran, they made a huge tactical error.
Seasoned at fighting human rights abuses in his home country Boochani has continued inside the Manus Island detention centre in Papua New Guinea.
He’s not the only voice speaking out from inside this prison like facility but he is one of the loudest.
Voices like his will be part of what brings this unjust, unfair system to its knees.
His writing has featured in major newspapers in Australia, and around the world, and is opening up the gates of this prison and exposing the human rights abuses occurring inside.
After several failed attempts I finally managed to record an interview with Behrouz, coincidentally just when he announced he had shot and co directed a film from inside Manus – ‘‘Chauka, please tell us the time’.
This interview was recorded by using Skype from my computer to ring Behrouz’s mobile. Due to this occasionally there’s some odd bleeps and bloops.
A review of Chauka, please tell us the time.
By Arnold Zable.
‘Chauka, please tell us the time’ is a remarkable film,’ shot on a mobile phone, in restricted and distressing circumstances by Kurdish-Iranian journalist and writer, Behrouz Boochani.
Incarcerated since mid-2013 in the Manus Island Detention Centre, Boochani co-directs the film with Amsterdam based Iranian filmmaker and editor, Arash Kamali Sarvestani.
Far removed from the action, Sarvestani, honours Boochani’s vision, and works with him, across a vast distance, to create a poetic, hypnotic film, which is both a work of great artistry, and a damning inditement of a brutal policy.
At the heart of the film, the central thread around which all the others are woven—is the chauka, a bird that is sacred and central to Manus Island culture.
The camera roams through the centre, and beyond, and conveys the torturous ordeal endured by the 900 men, incarcerated in the prime of their life, for over 40 months now, endlessly waiting, aimlessly pacing, enduring the heat, the erosion of hope, and destruction of the spirit.
The many visual and aural threads include tense phone-calls back home, hinting at family breakdown and the unbearable pain of separation: ‘I am parted from my child,’ one asylum seeker laments in his three-minute weekly call. Referring to a child born after he fled his country, a detainee says: ‘I haven’t had a chance to hold him, touch him or feel his presence’.
We hear the incessant whirring of fans, the dentist-like drill of the fumigation apparatus. We witness the wasted lives of men, their loss of agency: ‘I have no control over this’, says one. ‘Look mum, please don’t cry. Please don’t cry. Look mum, I am stuck here’, pleads another.
Boochani’s mobile phone pans over the cramped living spaces and the tiny cubicles, partitioned by sheets and tarpaulins to create a fragile and claustrophobic privacy.
We hear the comments of broken spirits: ’I prefer to be dead because I have nothing anymore… no one is waiting for me, and I am waiting for no one. I have lost everything.’
There are startling, poetic surreal-like images—rows of empty white plastic chairs leaning against the wire through which can be seen the unobtainable sea; the exuberant, beautiful faces of Manus Island children, dancing just beyond the wire, images of cats, contrastingly free, at home in any space within and without the wire.
The soundtrack compliments the imagery—with two recurring sounds in particular—a haunting Kurdish folksong, sung by one of the inmates, and the chirping of the chauka bird.
The folksong is a lament, a cry of longing, and the birdsong, a homage to Manus Island culture. The theme of the Chauka, and what it symbolises is a brilliant conception.
Through an ongoing conversation with several Manus Island men, we begin to understand the deep significance of the bird, and the ongoing colonial history of the island.
We come to see the cruel irony—the name of a bird that means so much in Manus Island culture, being used as the name for a high security prison within the wider prison, which, for a time, was a place of isolation, and punishment.
We come to understand that the appropriation of the Chauka, as a name for a place of such abuse and suffering, is obscene, and reflective of the neo-colonial system on which the offshore detention system is based.
Also interwoven is an eye witness account of the murder of Reza Barati in February 2014, and eerie footage of a detainee, who at the end of his tether, has self harmed, and is carried, at night, to an ambulance.
The mesmerising rhythm, the recurring imagery, the glimpses of Manus Island culture, the bird song, the sound of the sea, and the intermittent silences, have a powerful cumulative effect.
When we briefly see, at film’s end, Australian Prime Minister Turnbull trying to justify the brutal policy for which his government is responsible, he is condemned by his own words.
He tries in vain to justify the horror, and is revealed as a man in self-denial, representing a government that is, at best, in self denial.
Boochani’s inclusive vision is enhanced by the respect he shows for the Manus Islanders. The mobile phone camera lingers on scenes of island life and culture.
Boochani allows the voices of Manus islanders to be heard. The people of the island are stuck in a terrible dilemma, co opted into the offshore processing system through their desperate need for work.
They are on a lower rung in the camp hierarchy, with the Australian government firmly established at the apex.
‘Chauka please tell me the time’ is driven by a unique, poetic vision. It is filmed by a man who has an eye for life’s beauty, but also deeply feels its injustices, and cruelties—a man who has personally suffered these injustices.
Boochani is at heart an artist, who works intuitively, and instinctually. He, and his distant partner, Arash Kamali Sarvestani, allow the images, the sounds, the snatches of conversation, to speak for themselves.
They transcend the severe limitations of the circumstances under which the film was shot, to give us a glimpse of hell, juxtaposed against the island’s tropical beauty and fragments of its indigenous culture.
They have documented a specific time and place, and helped expose the horror that is indefinite offshore detention, whilst remaining true to the paradoxical beauty of their art-form, and their deeply humanistic vision of life.
Dakota Access pipeline protesters inspect charred vehicles and signs in front of a law enforcement barricade. Photograph: Reuters
Completion of controversial oil pipeline near as work moves quickly, but one Standing Rock protester says: ‘There is no time for waiting any more’
by Sam Levin, The Guardian, October 31, 2016
Native American protesters are preparing to take a “last stand” against the Dakota Access pipeline after police raided their camps and arrested hundreds, paving the way for construction of the final stretch of the controversial oil project.
View original post 741 more words