Lie in limbo?
Crisis in Caliornia: Everything touched by capitalturns toxic
Giford Hartman 8
What would it mean to lose? On the history oactually-existing ailure
Bini Adamczak and Anna Dost 11
Green New Deal: Dead end or pathway beyondcapitalism?
Frieder Otto Wol and Tadzio Mueller 12
It’s all about potatoes and computers:Recipes or the cook-shops o the uture
Disquiet in the impasse
Colectivo Situaciones 24
‘Everything must change so that everything canremain the same’: Notes on Obama’s energy plan
George Cafentzis 27
The communal and the decolonial
Walter Mignolo 29
The tragedy o the capitalist commons
Massimo De Angelis 32
Rebecca Solnit 34
What were you wrong about ten years ago?
Rodrigo Nunes 38
Turbulence is the disruption causedby movement through a non-movingelement, or an element moving at adiferent speed. Consider the ow owater over a simple smooth object,such as a sphere. At very low speedsthe ow is laminar. In other words, itis very smooth, though it may involvevortices on a large scale. As the speedincreases, at some point the transitionis made to a turbulent – or, ‘chaotic’ –ow. You can see the same thing whenyou turn on a tap.While a ull understanding oturbulence remains one o theunsolved problems in physics,this chaotic ow is enormouslyproductive. Insects y in a sea ovortices, surrounded by tiny eddiesand whirlwinds that are created whenthey move their wings. For years,scientists said that, theoretically, thebumblebee should not be able to y,as its wings are so small relative toits body’s mass: an airplane built withthe same proportions would neverget of the ground. For conventionalaerodynamics, turbulence is a problemto be controlled and eliminated.But once we take turbulence intoaccount as a productive orce, thenit’s easy to see how bumblebee wingsproduce more lit than predictedby conventional analyses. Theaerodynamics are incredibly unsteadyand di cult to analyse – but it works!
is a writing and publishingproject made up o seven peoplebased in our countries and on threecontinents. We rst encountered eachother within the counter-globalisationmovement. Our hope was to providean ongoing space in which to thinkthrough, debate and articulatethe political, social, economic andcultural theories o this ‘movement omovements’, as well as the networks odiverse practices and alternatives thatsurround it.We didn’t want to become yetanother journal claiming to ofer a‘snapshot o the movement’. Insteadwe hoped to carve out a space wherewe can carry on di cult debatesand investigations into the politicalrealities o our time – engaging thereal diferences in vision, analysis andstrategy that exist among us.
David Harvie, Keir Milburn, Tadzio Mueller, Rodrigo Nunes, Michal Osterweil, Kay Summer, Ben Trott.
You can also fnd us on Facebook.To fnd out about new publications,translations o articles published in
, or events we’re involved with,subscribe to our low-tra c e-Newslettervia our website.
This issue o
is illustratedby the series ‘Flat Horizon’, by SaoPaulo-based Brazilian photographerMarcos Vilas Boas. He hasphotographed seascapes since 1994,and started this series o pictures onocturnal images o maritime horizonlines in 1997. Apart rom the theme,what they have in common is the useo long exposure, which turns eventhe subtlest changes in weatherconditions or physical movementsinto elements producing the uniquemoment – o reection, observation,and assimilation o the weather andthe landscape – captured in each.These long-exposure images serveas a good metaphor o the kind orenewed attentiveness to subtletransormations that this issueproposes: their limbo-like stillnessis underlined by the ‘millionairecontribution’ o a myriad smallvariations.www.marcosvilasboas.com.br
All articles (exceptthe piece by RebeccaSolnit) are publishedunder a CreativeCommons Attribution Non-Commercial Share-Alikelicence. You are ree to share or remix as long as youattribute it to
and the author; you may notuse this work or commercial purposes; you may onlydistribute under the same conditions. More detailsrom
The article by Rebecca Solnit is an extract rom
AParadise Built in Hell: The Extraordinary Communities that Arise in Disaster
, reprinted with permission byViking, © Rebecca Solnit, 2009.Artwork and images are published under the ollowinglicences:
Horizon photos on p1, 3, 4, 11, 12–13, 17, 20–21,24, 27, 29, 32, 34–35, 38, 40
© Marcos Vilas Boas;
© Nick Cobbing www.nickcobbing.co.uk;
DavidHarvie cc Attribution-Share Alike 2.0 Generic;
howzey on ickr cc Attribution-Noncommercial-NoDerivative Works 2.0 Generic;
Luis Carlos Díascc Attribution-Noncommercial 2.0 Generic;
Ario_J on ickr cc Attribution-Noncommercial-ShareAlike 2.0 Generic;
World Economic Forum ccAttribution-Share Alike 2.0 Generic;
postmodernsleaze on ickr cc Attribution-Noncommercial-NoDerivative Works 2.0 Generic;
Brocco Lee onickr cc Attribution-Share Alike 2.0 Generic;
Western Cape Anti-Eviction Campaign cc Attribution-Share Alike 3.0 Unported;
© Aldo Cardozo;
Spacedustdesign on ickr cc Attribution-No DerivativeWorks 2.0 Generic;
Rodrigo Nunes cc Attribution-Share Alike 2.0 Generic;
camera_obscura onickr cc Attribution-Noncommercial 2.0 Generic;
OpenContent License, www.agp.org;
RodrigoNunes cc Attribution-Share Alike 2.0 Generic;
Peter Blanchard on ickr cc Attribution-ShareAlike 2.0 Generic;
© Globalise Resistancewww.resist.org.uk ;
© Je Aérosol;
BK59 onickr cc Attribution 2.0 Generic;
Rodrigo Nunes ccAttribution-Share Alike 2.0 Generic
SO WHO IS THIS AIMED AT?
The short answer is: anyone wantingto think about how to change theworld. That is, potentially everybody.But doing so isn’t straightorward. Thisisn’t a collection o lowest commondenominator writings aimed at someabstract ‘public’ whose common sense wecan second-guess. Even i we could, we’dmuch rather undermine it. To go throughthe experience o thinking dierently– in a dierent way or rom a dierentperspective – creates new possibilities.And perspectives aren’t dierent takeson a same thing, but each one a world initsel. Likewise, words aren’t dierent‘clothes’ or one object, but can createtheir own objects. So thinking dierentlyinvolves engaging with ideas that seemalien because they go against some o ourassumptions about the world, or comerom within contexts we are unamiliarwith. Some o the writing here might seemdi cult or abstract – we have tried tocontextualise pieces and explain technical jargon – but each article is open to anyoneprepared to make the eort o reading it.Reading is a two-way violence: a text canchange us to the extent that we are willingto appropriate it to our own ends. It’s thesame wager as love: i you jump in, youwon’t come back to the same point (andmay regret it, or be disappointed); but iyou don’t jump in, how can you know whatyou’re missing?
Turbulence ISSN 1754-2367
Printed in the UK and the US. Designed by