May 23, 2013
London, United Kingdom
Goldsmiths, University of London
May 24, 2013
London, United Kingdom
Institute of Contemporary Arts, London

McKenzie Wark's latest book The Spectacle of Disintegration is published today. Wark discusses the latter history of the Situationist International (SI) and the concept of disintegration in two interviews for Rhizome and the New Statesman.
McKenzie Wark talked to Rhizome about his new book The Spectacle of Disintegration: Situationist Passages Out of the Twenty-First Century; Aaron Swartz and the cultural commons; and KimKierkegaardashian as détournement.
Wark explained the twenty-first century relevance of the SI’s critical approach towards technology, culture and capital:
There’s an absolute failure to perform the critical task in relation to technology. There’s a kind of "No, I don’t like the iPhone." Well, what the fuck do you like then? What do you want? Describe another world. Describe it to me. For seven billion people. Among the Situationists, someone like Constant Nieuwenhuys did exactly that, he imagined an entire other planet based on mid 20th Century technology.
Inspired by Patrick Keiller's The Robinson Institute, currently on show at the Tate Britain, we present Verso's guide to political walking. We also draw influence from Will Self's Guardian article in which he pronounces that "walking is political" and suggests that the "contemporary flâneur" can be one "who seeks equality of access, freedom of movement and the dissolution of corporate and state control."
1. Wanderlust - Rebecca Solnit
The first general history of walking, Rebecca Solnit's book finds a profound relationship between walking and thinking, walking and culture, and argues for the necessity of preserving the time and space in which to walk in an ever more automobile-dependent and accelerated world.
2. Savage Messiah - Laura Oldfield Ford
Savage Messiah collects Laura Oldfield Ford's black and white, cut 'n' paste, punk fanzines that document her drift through London's margins. Illustrated with haunting line drawings of forgotten people and places, Oldfield Ford records the beauty and anger at the city's edges.