Bastarda takes us on another musical journey, this time delving into Hasidic Nigunim. These mystical Jewish songs, almost always sung without lyrics, originated in the Hasidic revival movement of the 18th century and often drew from local music patterns and traditions. Ecstatic dancing and singing of nigunim was a way

… Asturias, where things were steaming following the drastic abolition of currency and private property and the creation of a proletarian army. — Leonardo Padura, The Man Who Loved Dogs, translated by Anna Kushner, p.80 With arguments that were perhaps more passionate than rational, Lev Davidovich [Trotsky] tried to convince the

In its embrace of modern art we see the positivity of a society, its embrace of progress, towards radical transformation, towards freeing all that is good, vital and creative. This is the soil in which it grows and the opposite of any notion of financial growth, of economic vitality, of

For too long we have maintained a silence closely resembling stupidity — Neil Roberts November 18, 1982, at 12.35 am, Neal Ian Roberts detonated six sticks of gelignite in his backpack and in sight of the two security guards blew himself up in the foyer of the Wanganui Computer Centre.

Patreon tells me there’s a simpler way to bill patrons. (that’s bill) To bill patrons?! (bill) … there’s obviously another philosophical persona: the one who has grown up not knowing anything different than what we understand by neoliberalism and everything is financialised. (conceptual personae: the Cartesian idiot, Nietzschean

Theatre is the act of pointing out. Performance is dissimulation. Theatre is simulation. Where everything has been pointed out, even more, where chaos can be  pointed out, there is no room for time. Performance cannot simulate chaos; it can but only as dissimulation. Theatre spatialises time. Cinema, the moving image,