Dear David, can I ask your help with this translation from German to English? It is for a publication of our institute, a critique of ambient technologies (RFID stuff), by Rob van Kranenburg. Of course we do the check of the english... Best, Geert -- pg48 Everyone originates in an omnipresence of structural violence, but they grasp it differentily according to their respective theoretical development: "repressiv society" (Holloway), "deregulated violence" (Bauman) or "generalized state of emergency" (Agamben). All three think that the mechanisms of identifying and classifying are essential for this. For that reason they develop from their diagnostics of time normative approaches that - thirdly - have something common: to be against classification. [~assorting?] On this anticlassificating base they phrase - fourthly - all three their concept of community." (March 2007, Unrast, Munster, p.4) pg 49/50 According to Jens Kastner: "However the transnational guerilla may be seen as a try to overcome the frequecies of fields between art and activism described by Bordieu. The respectively own logics of production of theory, art and also politic actions show overlapping and entanglement. This is the basis where it is meant to prepare - however not by identical closements or prefaced contextless communities. But as a transnational guerilla" (p.10). - The intrinsic bridge between artistic and social movements offers possibillities to overcome the structural hurdles between these two (p.12). - Universalism as imaginary (the re-connecting of universalism has a certain source in negation of the existing, which defines the artistic internationalism. This is followed by transnational guerilla, as criticism and as an alternative model to the universal community (p.23). - Zapatista selfmanagement and tactics ("Intergalactic meetings against neoliberalism and pro humansim/the human race", where a few thousands guerill@s [~guerilleros?], intelectuals and activists [orig. germ.: AktistInnen, must mean AktivistInnen] in the chiapanestic jungle (1996) and also in Spain (1997) met, can be seen without hesitation as the birthour of the globalization-critical movements. It can also be understood as the starting point of the Transnational Guerilla (p.26). - global mobilisation (in a normativ regard transnational guerilla means to step across national borders and at the time it is also a moment of movement beyond traditional or geographic bonds [~bindings?] (p.73) This is exactly what the TG is trying to archieve: to create a transnational mode of movement out of the artistic internationalism of the 1960's (p.74). - multiplicity (For this collectiv and dediscriminating action a decisive hint is necessary, [which can also be described as] the temporary mark, the come across, the masks of the Zapatistas, the exposing of one's mode of existence (p 59). - parallel action (to speak about TG arises the assumption to be part of a minority: not to asign oneself to a supressed group for reasons of misinterpreted political correctness, but to conclude oneself, to understand oneself as part of a just temporarily secret broad community (p.73). - pragmatic activism (TG is not a so far unperfect or an up to now uncomplete community, neither an historical horizon to be fulfilled. It leaves basic illusiones behind resupplied by Agamben, Bauman[n?] and Holloway, is coming from zapatistic riots (we are you behind our masks) and is learning from its' own artistical practices. But it has to be understood as a gutsy, temporary rout not limited to national borders (p.77). pg 51/52 "The material constitution of the we (Holloway 2002:40) ist the doing. On the one hand the doing is a practical negation (Holloway 2002:35), because it negates and changes. Moreover the doing is always a collective one, because even individual acting is based and set up on the doing of others (see Holloway 2002:39) Holloway speaks about (social) doing as a material base of forming the we or of identifying, to delimit it from ontological processes recurrending [?germ.?] on the being. However in contrast with a concept formation (or also community formation) the movement going back to the doing based on the being has to be understood as an antagonistic movement of identity and non-identity (Holloway 2002:123). The one who does [better the creator?] is and is not, just like the done [created] is and is not - non permanent objectified and then again integrated in the social flow. To think on a base of being means to identify. "To think on a base of being means to identify.", the same goes for "non permanent objectified and then again integrated in the social flow.", as it is this very [smth missing in this english german parts] gesellscchaftlichen Fluss des Tuns, which is the a priori mappable and identifiable fabric of everyday life (Mark Weiser). endnote 54 is also in French (could you help here too?) [somehow, it's even hard to get it in german, but more to get what is meant, could be a bit easier if our character sets (you're using a macintosh char. set, I do everything in UTF-8) would be the same]- "Hello to the current Bricophonists, welcome. This is the first posting on the bricophonic list to say that in a couple of days we should receive a [... can't read this word] of a dutch foundation which encourages open source projects. This funds will allow the purchase of development kits, small electronique materials to reach a state of testing and to let run first drafts of code. We are not many persons on this list, because the project hasn't been published yet [not really sure about last half sentence] and to avoid that each one does not have anything to show again. Here are the base steps of our development: (there is a lot more on this page http://www.craslab.org/bricophone/?page=WhitePaper) and endnote 71 is back in German Just a few years after Baudelaires death Blanqui topped his career of as a conspirateuer by a memorable masterpiece. It has been after the murdering of Victor Noir. Blanqui tried to get an overview about his soldiery. In substance he just knowed his sub-headmen from face to face. It remains to be seen how much everyone knowed him in his squad. He compounded himself with Granger, his adjutant, who gave the orders for a revue of the Blanquists. It is described by Geffroy as followed: 'He left the house weaponed, said good bye to his sisters and took his station in the Champs-Elysees. Based on the arrangement with Granger there the defilee of the troops should take place, whose mysterious general was Blanqui. He knew the chiefs and now should see their soldiers behind each of them marching in step and in orderly formations. It happened as concluded. Blanqui gave his Revue without anyone noticing this strange spectacle. The old man, leant at a tree, stood in the crowd and among the people, who watched how he himself watched. Attentively he saw his friends coming near, how they mutely neared in a mumble intermitted by shouts.' Benjamin, W., Charles: Baudelaire. Ein Lyriker im Zeitalter des Hochkapitalismus in (eds) Tiedemann, R., SchweppenhSÿuser, H., Walter Benjamin, Gesammelte Schriften I -2, Frankfurt am Main, Suhrkamp Verlag, 1974, p. 604.