Pogo as Warfare + A political-scientific analysis                    Pogo as Warfare + A political-scientific analysis                    Pogo as Warfare + A political-scientific analysis

Pogo {derivation from the concept pogo stick} gained popularity in the punk scene of the 1970s [1], but was also widely performed by followers of New Wave and Industrial, e.g. Electronic Body Music (EBM, also: “Front Music”) in the 1980s. [2] The traditional style is jumping up, usually based on a 4/4 beat, but the dancer may introduce numerous variations of complexity by bouncing in any direction or flailing his arms. The ferocity of movement reflects the emotional state of the individual, the compulsion to jump is coupled with the amount of inner tension built up. Although in a state of pure self-centeredness, intense body contact with the other is usually desired and may occasionally lead to bruises and lacerations. Despite the rawness, comradeship has top priority and good care is taken of fallen or weaker associates.

The way of doing it has
             •   nothing to do with “fun” or a “welcome form of diversion”
             •   nothing to do with expressing a political statement, a-political
             •   but to do with hate and anger

The mentioned movements rejected escapism and wilfully sought confrontation with reality. Cold War, the inevitability of a nuclear apocalypse and the end of history, which can be assigned to the last but intense period of political and social change in the 1960s, created both an atmosphere of departure and an alluring dystopia. No history - no future?, the post-political generation turned towards futurism, fully aware, that there is little way out of the ever tightening control machine, now propelled by advancing digitization. Their future hasn't happened yet. Not until technological progress allows undoing the fetters of mundane conventions and overcoming bodily constrictions, transcending man and finally becoming the Übermensch. Memories of this future gave rise to the futurist legacy, "the art of war in the art of noise", but instead of focusing on noise output of urban or industrial complexes, emphasis shifted towards the intrinsic procedures of the machine, the algorithm, embodied in synthesized sound. The algorithmic entity, controlling and modulating the movements of society found its expression in pogo, not in terms of "dancing to the beat" but as a sensual mode of critique. The body is the oscillating transducer between appropriation and disaffirmation of calculated rule. Pogo permits algorithmic processes to take over the flesh and intensifies those by the emotion of disgust. The excessive repetition and raw interpretation of forced sequences both expose and distort their rigidity.

I                                         ARBEIT, SCHWEIß & MUSKELKRAFT
was the leitmotiv of the vanguard EBM band DAF, who have been suspected of propagating fascism. [3] Unconcealed callousness, militant aesthetics and the aggressive (KAMPFBETONT!) dance style might resemble signifiers of a grossly violent system, but are actually subversive, because any provoked outrage merely exposes the flatness of the political and cultural landscape. From the cybernetic perspective, homogeneity marks the completion of perpetual regulating measures by infinite feedback loops, which arose from the final aggregation and conjunction of all machines into a “machine of all machines”. The incurred amount of entropy and energy consumption assumes alarming proportions and calls for agitation. As pointed out below, this proves challenging. Firstly, the slick surface and vaporous ideologies of a device-governed world hardly offer potential points of attack, whilst regimental leadership and firm statements usually lend themselves for effective response. Secondly, the state war-machine has adopted and exploited the essential strategies of insurrection, based on the principles of speed, autonomy, self-organization, exchange and information gathering, also referred to as the dromocratic revolution (see Virilio).

_“The host and parasite entwine in one another until they’re indistinguishable.”
Thirdly, the superstructure has absorbed the very agencies competent of disrupting the ruling order by appropriating their alternative objectives. This keeps noise levels low and ensures a non-viscous information flow. Debord expressed this as the recuperation of the spectacle, and humans previously classified as risk factors, notably those allocable left of the political spectrum, work now devotedly under the schemes of “democracy” and “participation” to iron out the last rough edges of society and carefully mind if free expression is subject to political correctness. Since it is a democratic duty to endorse any deviance and “open-mindedness” became compulsory, subculture and any acts of rebellion pale into insignificance. No fringe community remains unsolicited; the arts, academia and their offspring, “the activist” are not only on spot when authorities fail to assume social responsibility but downright impose their ideals and desired utopia upon people, who claim to think and act autonomously. This has proved counterproductive and Reed (2013, p.189) remarks, that “the endgame of didactic preaching is dogmatic tyranny, and any ideological specificity becomes a fixed point to be pinned down and coopted by control machines”. Innovative creatives and start-ups concerned with designing a “better future” mushroom but the potential dissident, who questions the social construct in its entirety and refuses to propose a concrete alternative mode of life by referring to the principles of individuality, will be deemed as imbecile. Mere criticism must be silenced, as it is an open-ended act, which the closed system is unable to process and equivalent to loss of control. The boundaries of technofascism are defined by the task of maintaining itself but have the ability to expand ad infinitum when system queries can be coupled with response, and therefore suggestions for improvement or pragmatic solutions just build upon predefined norms.

_"Everyone knows that in uncertain times, a species looks for clues to its future."
Today democracy prompts everyone to “have his say” and the bodies of power even greatly welcome interactivity between them and its citizens, which might generate a feeling of greater freedom and thus also the readiness for collaboration.

Previously the symbiosis of culture and commodity-based economy could be identified by conform products that appeal to the broadest possible consumer range, now data exchange and the mining thereof became the most valued asset, marking the shift from fetishization of the object to the fetishization of the process of interaction. The harvest of large amounts of data is aimed at the attributes and habits of groups and individuals and accounts for imaginative combination and the computation of statistical models and speculative forecasts. The more predictive calculations, the more they become affirmations of a likely future, and thus change the way of anticipation, because a determined outcome validated by substantive data leaves no room for vision. The future is semi-automated, without featuring imagination or somewhat justified by truth, just composed of the immaculate optimization of data, which is stripped from any essence of human nature. It must be borne in mind that technology itself does not rule over mankind but human inventiveness and traits, in particular greed and the will to dominate others, which are inherent to the machine, its structures and its intended purpose. Governance is the sole decision maker and selects between signal | noise, futility | economic profitability and rule of law | terrorism but can easily rid itself from responsibility by referring to computational evidence.

The fabric of reason and tight regulation rests on the longing for order and certitude and is deeply rooted in the cybernetic paradigm. Simondon diagnosed the human delusion that the degree of perfection is proportional to the degree of automation, which is reflected in industry 4.0, but then rather in the light of economic rationale than the viability of mankind. He argued that high-level technicity only comes along with openness, and that a system’s perfect mode of operation aligns in fact with its scope of indeterminacy and susceptibility to external information. And goes even further:
_“The greatest perfection is equal with the greatest openness: the greatest possible latitude in functionality.”
A completely networked and closed system with a predestined mode of operation sacrifices many potential methods of use and outputs only rudimental results. Humans therefore should only play a supporting role in their capacity as conductors or translators, not as steersmen. Thinking still in patterns of analog workflow and using new technologies only in habitual routine or by means of user-friendly interfaces, where code is replaced by symbols, proves them not conscious enough of technical reality. Less interference with structure would offer humans essential resources for the reassessment of their existence and their situation respective of surrounding actuality. For instance, in order to distinguish information from noise, the former must refer to a certain code and be to some extent subject to uniformity. However, it can provoke a series of unexpected new states, but only if channeled without selection or objective and if all aspects of modulation are taken into account. In matters of the current socio-economic development, it is of considerable interest, that simultaneously with the reduction of noise levels, indetermination and unpredictability of information signals decline.

II                                                    POGO FUTUROLOGY
Dance is a holistic emotional outlet, which allows access to domains excluded from language. Pogo in particular has high cathartic value and provides immediate release of hate and anger, caused by the totalitarian regime of terror. But can pogo act as a portal, similar to sound in futurism, as a prophecy of the future? What are the relations between the aggressive vigor of pogo, algorithmic coercion and the omnipresent escalation of control and regulation of data? [4] What if the monotony of movement not only allegorizes a simple algorithm, but also its inherent fascism? Fascism persecutes and combats allegedly degenerative agents and brings about a 'new order', just like prevailing cybernetic networks of power and idolaters of database and algorithm reject off-system entities, limit choices and force everything in place. As aforementioned, pogo communicated the metamorphoses in technology and thus in society, which can be sensed in the resonance and vibration of the turmoil on the dance floor. Brief and ephemeral waves, which won't allow long foresight but disclose an immediate present future, as the affect of microsignals from the past, opens up to their futurity. [5] The skin probes the future, prospecting for clues in anticipation or fear, and proved to be much more efficient and reliable in the detection of anomalies than visual or aural spectra. Premonition is paramount in times, where technology of surveillance and analysis "merged seeing and foreseeing so close, that the actual can no longer be distinguished from the potential."(see Virilio)

III                                              THE CODE OF ←↑POGO↓→
Societal servility is integrally programmed but is re-programmable! Pogo is rhythmic warfare and unites militants of any class, race or sexual orientation. But it calls for individual free action on the dance floor and seeks to distinguish itself from the indoctrinated sanctimony of collective consensus. Pogo is behavioral discrepancy, its chaos and intensity is dreaded by the cybernetic system as it threatens to trash the harmonic and regulated structures. Pogo is reactive resistance, potent provocation {from Latin prōvocātiō, inciting a response}, that intends to force choices instead of backing pre-coded rationalism, such as the courtesy to politely deliver feedback. Its loathing for preachiness bars itself from conveying utopian replacements. Pogo answers its own questions, hence reverses causalities. It mimics and distorts governmental enforcement, subsequently synthesizing new modes of thought, which can be deployed against state oppression. Pogo is an end in itself that transcends utility but reserves the claim to tear down authority.

Beweg deine Höften, und tanz den Mussolini
Klatsch in die Hände, und tanz den Kommunismus
und dreh dich Nach rechts, und jetzt den Jesus Christus
und dreh dich nach links, und tanz den Adolf Hitler
            -DAF, Tanz den Mussolini (1981)