An Anarchaeology G u e r r i l l a of 1970s N e t w o r k s Radical Media Ecologies MICHAEL GODDARD Amsterdam University Press Guerrilla Networks The book series Recursions: Theories of Media, Materiality, and Cultural Techniques provides a platform for cuttingedge research in the field of media culture studies with a particular focus on the cultural impact of media technology and the materialities of communication. The series aims to be an internationally significant and exciting opening into emerging ideas in media theory ranging from media materialism and hardware-oriented studies to ecology, the post- human, the study of cultural techniques, and recent contributions to media archaeology. The series revolves around key themes: – The material underpinning of media theory – New advances in media archaeology and media philosophy – Studies in cultural techniques These themes resonate with some of the most interesting debates in international media studies, where non-representational thought, the technicity of knowledge formations and new materialities expressed through biological and technological developments are changing the vocabularies of cultural theory. The series is also interested in the mediatic conditions of such theoretical ideas and developing them as media theory. Editorial Board – Jussi Parikka (University of Southampton) – Anna Tuschling (Ruhr-Universität Bochum) – Geoffrey Winthrop-Young (University of British Columbia) Guerrilla Networks An Anarchaeology of 1970s Radical Media Ecologies Michael Goddard Amsterdam University Press Cover illustration: based on Radical Software magazine front cover, Volume I, Number 4 (1971). Courtesy of Davidson Gigliotti and the Daniel Langlois Foundation. Cover design: Suzan Beijer Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 889 1 e-isbn 978 90 4852 753 3 doi 10.5117/9789089648891 nur 670 © M. Goddard / Amsterdam University Press B.V., Amsterdam 2018 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Table of Contents List of Illustrations 7 Acknowledgements 9 Introduction 11 1. Media (An)archaeology, Ecologies, and Minor Knowledges 15 Introduction: The Long 1970s 15 Concepts of Media Archaeology, Anarcheology and Media Ecolo- gies 22 Radical and Guerrilla Media 33 Popular Cultures, Minor Subjugated Knowledges and Expressive Machines 37 2. Armed Guerrilla Media Ecologies from Latin America to Europe 51 Introduction: Contra ‘Mass Mediated Terrorism’ 51 Revolution in the Revolution: The Urban Guerrilla Concept from Latin America to Europe and North America 55 Brigate Rosse and Armed Struggle in Italy 72 The ‘Baader Meinhof Complex’ and the June 2nd Movement 87 Weather Variations: Weatherman, the Weather Underground, and the Symbionese Liberation Army 106 3. Autonomy Movements, the Nexus of 1977, and Free Radio 137 Introduction: Radical Politics, Bifurcations, and the Event 137 Italian Workerism and Autonomia 142 1977 as Nexus: The Movement of 1977, Creative Autonomia, and Punk 160 Rebellious Radio from Marconi to Free Radios 174 Media beyond ‘Socialist Strategy’: Enzensberger, Baudrillard, and the Genealogy of Radio Alice 178 The Media Ecology of Radio Alice 183 4. Militant Anti-Cinemas, Minor Cinemas and the Anarchive Film 193 Introduction: Destroying the (Cinema) Apparatus, Transforming the (Audiovisual) Machine 193 Militant Anti-Cinemas in the 1970s 199 6 Guerrilla Networks Minor Anti-Cinemas: Anti Psychiatric, Heretical, Feminist, and Postcolonial 223 The Counter-Public Sphere, Anarchival Film, and Documentary Symptomatologies 241 5. Ecologies of Radical and Guerrilla Television 263 Introduction: Cinema/Television/Video or Cain vs. Abel Revisited 263 Sonimage, Fassbinder, and Radical Auteur Television 268 Ecologies of Guerrilla Television: Ant Farm, Raindance Corpora- tion, TVTV, and Radical Software 298 Conclusion: Terms of Cybernetic Warfare 321 Endnotes 329 Bibliography 339 Key Film, Television, and Video Cited 351 Index 353 List of Illustrations Fig. 1: Che Guevara, the face of guerrilla subjectivation. 70 Fig. 2: Ulrike Meinhof at the offices of Konkret. 90 Fig. 3: Mini-Manual of the Urban Guerrilla and The Urban Guerrilla Concept. 94 Fig. 4: Baader Meinhof wanted poster. 97 Figs 5 & 6: The Weather Underground Media Ecology: Prairie Fire and Osawatomie. 125 Fig. 7: Weather Underground members in Underground (1975). 133 Fig. 8: The Sex Pistols on the Bill Grundy Show from The Filth and the Fury (Temple, 2000). 170 Fig. 9: The Clash, ‘London Calling’ official music video (1979). 172 Fig. 10: Joe Strummer in Red Brigades T-Shirt from Rude Boy (1980). 173 Fig. 11: Radio Alice as presented in A/Traverso. 186 Fig. 12: The Radio Alice Media Ecology at Work. 188 Fig. 13: Godard’s Le gai savoir (1969) 202 Fig. 14: The audiovision machine of History Lessons. 214 Fig. 15: Alberto Grifi working on the video transfer of Anna (1975). 229 Fig. 16: Fassbinder and Armin Meier in Germany in Autumn (1978). 243 Fig. 17: Archival footage in Germany in Autumn (1978). 245 Fig. 18: Richard Nixon in Millhouse (1971). 250 Fig. 19: ‘This Barrier is a metaphor for the war in Vietnam’: The Weather Underground in Underground (1976). 253 Fig. 20: Ici et Ailleurs (1974), video mixing Golda Meir and Adolf Hitler. 271 Fig. 21: Ici et Ailleurs (1974), alternative modes of editing. 274 Fig. 22: Video superimposition in Six Fois Deux (1976). 278 Fig. 23: Fassbinder’s World on a Wire (1973). 295 Fig. 24: Ant Farm’s Media Burn (1975). 299 Fig. 25: Guerrilla Television manual. 302 Acknowledgements The research on which this book is based was originally conducted as part of a sabbatical from the University of Salford in 2011, during which time research was conducted in London, Paris, Rome, and Bologna, among other locations. This included research at the British Film Institute (BFI) archives, London; the Bibilothèque du film, Paris; and the Antonio Gramsci Archives in Bologna and Rome, which greatly enriched the range of research materials consulted. An ‘accidental’ speaking tour in North America was invaluable to develop the ideas in the first part of the book for which I would like to thank Steven Shaviro for facilitating my talk at Wayne State University, Detroit; Greg Elmer at Ryerson, Toronto; and Brian Massumi, Erin Manning, and the Sense Lab, for organizing my talk at Concordia University. Of special importance for me was meeting J. Smith and André Moncourt from Kersplebedeb publications and editors of the excellent Red Army Faction: A Documentary History. Not only did they provide me with rare and hard-to-come-by materials on and by urban guerrilla movements, but they also took the time to meet with me and discuss their work. As is fitting for a work of media anarchaeology, this book is a mix of materials both old and new. An earlier version of part of the section of chapter one ‘Concepts of Media Archaeology, Anarchaeology and Media Ecologies’ was published as ‘Opening up the black boxes: Media archaeology, “anarchaeol- ogy” and media materiality’ in New Media and Society, December 2015, 17 (11): pp. 1761-1776. Earlier versions of the section of chapter three, ‘The Media Ecology of Radio Alice’, have appeared in various publications including as ‘Towards an Archaeology of Media Ecologies: “Media Ecology”, Political Subjectivation and Free Radios’, in Fibreculture 17: Unnatural Ecologies, edited by Michael Goddard and Jussi Parikka, 2011. Finally, an earlier version of part of the section of chapter four on minor cinemas was published as ‘Cinematic and Aesthetic Cartographies of Subjective Mutation’, Subjectivity 5(1), 2012, pp. 75-94. In the intervening years, work within this book was presented at several conferences in Europe and elsewhere, including at the Network for European Cinema and Media Studies (NECS); Deleuze Studies; Re:Wire; and, more recently, the ‘Coming to Terms with Film Philosophy’ conference, which was hosted by York University and Toronto International Film Festival (TIFF) in Toronto, 2015. The Jean-Luc Godard retrospective organized by Michael Witt at the BFI Southbank in January, 2016, was also an invaluable contribution to the latter stages of my research, and I would like especially to thank Michael Witt for making available his