A history of the first seven to nine years, of Exploding Cinema, but also a critical evaluation of an open artists collective as a form that, it is argued, is of fundamentally more value as a cultural force than the establishment's art institutions. How do we render these oppositional formations as ‘knowledge’? How do we argue for the importance of their, sometimes anarchic, vitality to an alienated world? I attempt answers to these questions and others.

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