Readers may recall Priyamvada Gopal and her efforts to redefine violence so as to include anything to which she and her peers take political exception, thereby elevating actual thuggery to the status of retaliation. For Ms Gopal, setting fire to occupied buildings isn’t “real” violence and is no more objectionable than “hypocritical language.” This bold and convenient philosophy appears to have been embraced by other Guardian contributors – among them, chronic confabulator Laurie Penny, whose recent pronouncements on Twitter included the following (now deleted):

I have no problem with principled, thought-through political ‘violence.’

Note Ms Penny’s daring use of the inverted comma.

Smashing windows is property damage. That’s not the same thing as violence.

The term criminal damage is harder to diminish and smashing windows with bricks in a non-violent manner is not an easy thing to do on the streets of central London. Needless to say, it takes a fair amount of effort to heave larger, heavier objects through someone else’s windows. Just as it takes a certain disposition not to care particularly about where, or on whom, those objects may land along with shards of flying glass. And perhaps we should assume that Laurie has no objection to her belongings being destroyed by those who disagree with her, provided they feel sufficiently righteous and entitled.

Elsewhere, Leah Borromeo pursues a similar theme in a piece titled Protesters Can’t Disown the ‘Violent Minority’. She tells us, apparently in all seriousness,

There are no “good” protesters and no “bad” protesters. The state sees anyone who publicly declares their dissent to its laws and policies as one thing – a threat. When a state is threatened, it sends its henchmen out to quell it.

Yes, I know. Henchmen. All things considered, there’s a distinct whiff of projection. Another contender, I think, for our series of classic sentences.

The henchmen are the police. And you – student or teacher, patient or nurse – are that threat.

No doubt the state’s “henchmen” will be raiding the offices of the Guardian as I type and Polly Toynbee will soon be hauled away, hooded and in chains.

You can’t balance the violence of the oppressor with the violence of the oppressed.

Sadly, Ms Borromeo doesn’t pause to explain exactly how she and her peers are being violently oppressed. Perhaps she’s referring to the government’s modest reduction in the growth of public spending. We do, though, get plenty of self-flattering assertion:

To try to make distinctions between a “peaceful” and a “violent” protester is inherently flawed. Dissent is a violent reaction. Saying “no” is resistance… So – many apologies to those who wish to distance themselves from the “violent minority.” But we’re in this together. You may not like having to share a boat, but it’s a lot better than drowning.

Those who attended Saturday’s protest untroubled by violent urges, possibly with children in tow, may take exception to this casual flattening of distinctions. But people who managed to walk through central London without smashing windows, trashing cash machines or hurling projectiles at the police are, according to Ms Borromeo, no better than those who did.

Play with the solar system. // A digitised collection of handheld electronic games. // Get a six-pack in seconds. // Tornado meets hardware store. // A brief guide to space junk. // Man builds own scanning electron microscope. // Edible biro. // Modern-day Kyrgyzstan. // Unmelting. // Music and emotion. // Chicks plus webcam. // Tweaking James’ face. // The tax wedge. // For those who miss the shutdown of tube televisions. // The dark(er) side of socialism: “How do we bring down the stock markets?” // Photographs of frontier life, 1887-1892. (h/t, Peter Risdon) // Girls making gun sounds. // Why frogs are awesome.

Readers, it’s time to acquaint yourselves with the work of Dr Graham St John, a Research Associate at the University of Queensland’s Centre for Critical and Cultural Studies and “an anthropologist of electronic dance music cultures, festivals, and movements.” Dr St John’s scholarly projects include Performing the Country: Culture, Identity and a Post-Settler Landscape, “a study of  contemporary performative contexts for the (re)production of ‘Australianness’ in the wake of recent historical and ecological re-evaluations,” and Making a Noise, Making a Difference: Techno-Punk and Terra-ism.

The latter “charts the convergence of post-punk/post-settler logics in the techno-punk development in Australia” and “provides an entry to punk through an analysis of the concept of hardcore in the context of cultural mobilisations which, following more than two centuries of European colonisation, evince desires to make reparations and forge alliances with Indigenous people and landscape.”

As the texts in question may induce an urge to self-harm, I’ll attempt to convey their profundity with some visual extracts:

Above, a “cultural mobilisation.”

Some speakers, radically situated.

Radical philosophy.

Another blow to the Hegemon.

Dr St John’s more recent and even more ambitious project is Dancecult: Journal of Electronic Dance Music Culture. For the heathens among you who don’t already subscribe, and for whom the terms noisecore and bloghouse are just strange and scary words, the Dancecult journal is,

A platform for interdisciplinary scholarship on the shifting terrain of electronic dance music cultures (EDMCs) worldwide.

Its concerns are of course numerous and deep.

From dancehall to raving, club cultures to sound systems, disco to techno, breakbeat to psytrance, hip hop to dubstep, IDM to noisecore, nortec to bloghouse, global EDMCs are a shifting spectrum of scenes, genres, and aesthetics. What is the role of ethnicity, gender, sexuality, class, religion and spirituality in these formations? How does existing critical theory enable understanding of EDMCs, and how might the latter challenge the assumptions of our inherited heuristics? What is the role of the DJ in diverse genres, scenes, subcultures, and/or neotribes?

The journal’s current gems include Media Studies lecturer Dr Hillegonda Rietveld’s Disco’s Revenge: House Music’s Nomadic Memory, an article rendered lofty by obligatory references to Deleuze, Guattari and de Sade, and which “addresses the role of house music as a nomadic archival institution,” one that is “keeping disco alive through a rhizomic assemblage of its affective memory in the third record of the DJ mix.”

Some of you will, I’m sure, feel a strong urge to contribute, thereby helping to expand the boundaries of human knowledge on matters of great and pressing import. Happily, Dancecult is preparing a themed issue, due for publication in April 2012, to which scholarly contributions may be submitted:

This special edition of Dancecult seeks contributions from scholars of psytrance from all disciplines and methods attending to this genre (or meta-genre) in a period of transition and growing complexity.

“Critical attention” should be paid to the following:

The role of the contemporary psytrance festival,

The continuing significance of the “traveller” (as opposed to “tourist”) pretence or sensibility,

And,

The repression of Goa/psytrance.

If some readers are unfamiliar with the cultural minutiae of raving sub-genres, a brief outline is helpfully provided. It seems that for devotees of psytrance, now is a time of crisis:

In the 2008 edition of Psychedelic Traveller magazine, in an article “The Exodus of Psytrance,” Sam from chaishop.com reported that… “the exodus of artists and dancers is clearly visible. Most primitive cornerstones of psytrance parties have lost half or more of their visitors. Most labels have signed bankruptcy, media companies are struggling if not yet dead, scene workers left for a ‘normal’ job.”

Dark days.

Yet, while psytrance has been buffeted by manifold economic, political and aesthetic crises, it appears to be a hardy and durable phenomenon… In the areas of genre, music production/performance, event production, virtual distribution, pharmacology, it appears that psytrance flourishes amid complexity.

Sweet mercy, the dream still lives.

Now get cracking on that paper. It’s vital work.

Workers on the Forth Rail Bridge, North Queensferry, 1996. Photographed by Peter Stubbs.

Tail rudder of a B-36 bomber being repaired by mechanics at Carswell Air Force Base, 1951. Photographer unknown.

Via Scaffoldage, home of “skeletal archiporn.” 

After weeks of covering the Wisconsin protests (touched on here), Ann Althouse and Meade now poke through the dregs.

“The planned economy… it works throughout Europe.”