An Interview with John Jordan and Gavin Grindon
Furtherfield interview with Gavin Grindon and John Jordan from the
Laboratory of Insurrectionary Imagination about the User's Guide to
(Demanding) the Impossible. Published by Minor Compositions.
Filmmaker and activist Gregg Bordowitz's passage through the
1980s mirrors the course of AIDS activism in that decade. From the very
first ACT up demonstration in New York to the triumphal storming of the
FDA headquarters outside Washington, DC, he deployed his art in the
battle against AIDS. Bordowitz leads off this two-issue series of
personal chronicles of the decade, recounting his experiences as an
activist and guerrilla filmmaker at the forefront of the fight.
"Art
does have the power to save lives, and it is this very power that must
be recognized, fostered, and supported in every way possible."
- Douglas Crimp, introduction to AIDS: Cultural Analysis/Cultural Activism (MIT Press, 1988)
In the period between the end of the cold war in 1989 and the events of September 11, 2001, human rights became the dominant moral narrative by which world politics was organized. Inspired by the momentous political and cultural transformations taking place at the time, from the fall of the Berlin Wall to the spread of global communications technologies, promoters of human rights discourse optimistically predicted that a transnational public sphere dedicated to democratic values would emerge (We now know, of course, that such predictions were wrong, as early post cold war hopes gave way to the harsh realities of contemporary globalization).
1. Toward a European Standard Code for Critical Interchange (ESCCI)
Bezeichnen wir das Internet einfach einmal als 'Kind der Moderne', soist das klassische Genre der Kritik sicherlich ein Teil davon. Im nochandauernden Zeitalter des multikulturellen Massenkonformismus, vollerMikropraxis und Ich-Management, ist die Kunst der Kritik jedoch inVergessenheit geraten. Die hiesigen Kommentare zielen nur noch aufKorrektur von Verhaltensweisen ab. Die Meinungsmacher/innen haben allesAngebotene laengst hinter sich, sie sehen das Ganze wirklichdifferenziert, aus sicherem Abstand. Die glueckliche Tatsache, man seieben nicht engagiert, wird als persoenliche Errungenschaft gefeiert.Solche talking heads ohne Eigenschaften sind aber nutzlos in Zeitenrascher Entwicklungen, sowie das beim Wachstum der Computernetze imMoment der Fall ist.
Introductory essay for the second editon of the Next 5 Minutes festival of tactical media, 1996.
The events of the century's turn, from Seattle to New York, have shown that a sweeping critique of capitalist globalization is possible, and urgently necessary-before the level of violence in the world dramatically increases. The beginnings of such a critique exist, with the renewal of "unorthodox" economics. [1] But now one can look further, toward a critique of contemporary capitalist culture.
ReadTranslating the abstraction—and banalities—of the Anthropocene into readable cartography has resulted in many past attempts that often ended up reproducing those same qualities. But, as Brian Holmes asserts in this essay, we seem to have found ourselves in a moment where collaboration, engagement, and new forms of knowledge exchange are breaking that deadlock. Tracing his own involvement with artistic practices that both engage with and attempt to represent a “political ecology,” Holmes explains how the evolving, collaborative cartographic practice that brought the "Mississippi. An Anthropocene River map" into being simultaneously reveals and interrogates the power structures of Anthropocence society.
ReadAt the end of the third 'Next 5 Minutes' conference on tactical media (March 1999) in Amsterdam, an interesting discussion emerged around the question of how the minor media practices elaborated and highlighted in this vibrant event would ever reach a wider audience for lack of being covered by any mainstream outlet. At one point, some people from the back of the room (unfortunately I don't know anymore who exactly, I believe an Italian group), shouted: 'We don't want to be mediated - we mediate ourselves!'
ReadI am interested in a certain sense of wanting to be "in" something: to participate in it, to connect with it, to synchronize with it, to be caught up with it, rather than to visually possess it. The desire to be attuned to something that is happening, or that might happen at any moment -- not necessarily as a conscious thought, but as a vaguely felt expectation. The desire to move toward something that is (or might be) happening, in order to absorb its force, touch it, taste it, surrender to it -- rather than simply to observe it.
ReadActivist Media Tomorrow*
* BH: When I wrote this text five years ago, it really was not clear whether
the swarming tactics of the counter-globalization movement would get a
"second chance." But they have, and now the subtitle could be "activist
media today."
What happened at the turn of the millennium, when a myriad of recording
devices were hooked up to the Internet and the World Wide Web became an
electronic prism refracting all the colors of a single anti-capitalist
struggle? What kind of movement takes to the barricades with samba bands
and videocams, tracing an embodied map through a maze of virtual
hyperlinks and actual city streets? The organizational aesthetics of the
networked movements was called "tactical media," a concept that mixed
the quick-and-dirty appropriation of consumer electronics with the
subtle counter-cultural anthropology of Michel de Certeau. The idea was
to evoke a new kind of popular subjectivity, constitutionally "under the
radar," impossible to identify, constantly shifting with the inventions
of digital storytelling and the ruses of open-source practice. Too bad
so much of this subversive process was frozen into a single seductive
phrase.
What counts in the long run is the "use" one makes of a theory....We
must start from existing practices in order to retrace the fundamental
flaws.
--Felix Guattari, "Why Marx and Freud No Longer Disturb Anyone"
In 1994, when Critical Art Ensemble first introduced the idea and a
possible model of electronic civil disobedience (ECD) as another option
for digital resistance, the collective had no way of knowing what
elements would be the most practical, nor did it know what elements
would require additional explanation. After nearly five years of field
testing of ECD by various groups and individuals, its information gaps
have become a little more obvious and can finally be addressed.
A Body for Cultures in Ruin
For Whom It May Concern,
We would like you to read this document and respond to this idea. It
was our wish and motivation to consider a format which could
accommodate certain situations in which countries and cultures find
themselves in these days. Ever increasingly, we are witnessing the
phenomena of ruined nation states, crashing financial markets and
bankrupt governments. So far, this is only interpreted in the usual
journalistic way of reporting the political and financial aspects of
the crises. But we, cultural workers, know better. It is only perceived
as 'news'. Arts and culture in this situation are the last to be
considered contemporary, sensitive instruments that could express the
'signs of the times'. First of all culture is a prime target of budget
cuts and this has become the only language in which officials can
speak. Art, by definition, is always in a defensive role and cannot
make demands. We do not like to further the culture of complaint, nor
is this the right time to dream up new utopias. We propose to radically
face current global economic forces. We want to intervene in their
sphere. Culture should not be left out: condemned to compensate for and
be at the receiving end of this trauma.
"We have to be very attentive and united at a state level to fight
against what is a threat to democratic authority and sovereignty,"
-
French government spokesman Francois Baroin speaking out against
wikileaks releasing US diplomatic cables.
"Governments of the
Industrial World, you weary giants of flesh and steel, I come from
Cyberspace, the new home of Mind. On behalf of the future, I ask you of
the past to leave us alone. You are not welcome among us. You have no
sovereignty where we gather."
- A Declaration of the Independence of
Cyberspace, John Perry Barlow
Public Agency in Hybrid Space
Lead-essay for the theme issue "Hybrid Space" of OPEN, Journal for Art and the Public Domain, #11, (Amsterdam / Rotterdam, 2006).
The Negative Dialectics of the Net
In his essay, "Presenting the Unpresentable: The Sublime", Jean-François Lyotard observes that capitalism, technoscience and the pictorial avant-garde of the twentieth century share an 'affinity to infinity'. All three point towards a sensibility that is constitutive for the experience of the modern world.
If the left has learned anything from resistance against capital driven technocracy, it is that the democratic process is only minimally useful for slowing the profit machine of pancapitalism. Since corporations and other capital-saturated institutions own the process, and tend to function outside national democratic imperatives, other methods of power appropriation have to be developed. In the case of biotechnology, the resistance is unfortunately in a position of reactivity. Corporations have already infiltrated most governments and markets at such a furious pace that all that can be done is attempt to slow them down, while cells and organizations regroup and decide on a way to address the many problems that have already arisen, and the many potential accidents that are in front of us.
At first glance the concept of "organised networks" appears oxymoronic. In technical terms, all networks are organised. There are founders, administrators, moderators and active members who all take up roles. Think also back to the early work on cybernetics and the "second order" cybernetics of Bateson and others. Networks consist of mobile relations whose arrangement at any particular time is shaped by the "constitutive outside" of feedback or noise.[1] The order of networks is made up of a continuum of relations governed by interests, passions, affects and pragmatic necessities of different actors. The network of relations is never static, but this is not to be mistaken for some kind of perpetual fluidity. Ephemerality is not a condition to celebrate for those wishing to function as political agents.
ReadA Salvage Operation
On a clear evening in December, as the sun was setting over the Texas
horizon, a Mexican drone entered U.S. airspace and crashed into a
backyard in El Paso.
This article focuses on grassroots digital activism in the Arab world and the risks of what seems to be an inevitable collusion with U.S foreign policy and interests. It sums up the most important elements of the conversation I have been having for the last two years with many actors involved in defending online free speech and the use of technology for social and political change. While the main focus is Arab digital activism, I have made sure to include similar concerns raised by activists and online free speech advocates from other parts of the world, such as China, Thailand, and Iran.
Read