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The Creativity of the Common
Nuovo Cinema Palazzo
The following considerations are food for thought derived from and developed throughout a series of meetings and debates with the occupants of the Teatro Valle occupato and other subjects sharing the process of creation of the “common”.
The constituent dimension of the common good
Let’s begin with the centrality and historical urgency of the practice we are producing with the creation of the common good. We believe that what the traditional legal models are now compelled to face is, more than the regression of state sovereignty, the relation between constitutions and social autonomies, and the regulatory claim of the first over the latter.
To this regard, our effort is not employed in the direction of a wholehearted defense of the Constitution, nor towards its absolute abolishment. It is rather aimed at creating a dialectic relationship with those institutions in which we find a potential “gap” for creative intervention, therefore penetrating the legal system, regaining the means of affirmation of our struggle, of collective action, and of a new battleground for ourselves and others.
The Strike Wave and New Workers' Organisations: Breaking out of Old Compromises
Leonard Gentle
Over the past weekend, the striking mineworkers of Amplats gathered at a mass rally in Rustenburg and howled their defiance of a series of ultimatums issued by the company. At De Doorns, farm workers are on a wildcat strike - the latest of a series that has become a feature of the South African landscape over the last three months, knocking Mangaung off the front pages. Something is stirring from below…and it is time we got beyond the fear and trepidation that have become the stock response in the media.
After the Marikana massacre President Jacob Zuma appointed the Farlam Commission and also convened an emergency Social Dialogue meeting of Business, Labour and Government in October. The partners released a statement calling on strikers to return to work and for the police to defend law and order and noted that “the wave of unprotected strikes…[could]…undermine the legal framework of bargaining.”
A Letter to Bifo
Sandy's Sister
Dear Bifo,
What are we welcoming you to in post-Sandy New York? How to welcome a friend to a disaster site, especially when the disaster is surpassing our capacity to see it, yet alone bear witness, or act up to it, in response or relation to it.
What is the context here in New York, you and many other comrades must be wondering?
The storms came and went, and we are living in their wake. The city is what you would expect after a very intensive period of resistance, the energies have dispersed but remain tethered. The struggles have coalesced around a few more focused initiatives. What exploded last Fall here in the city is clearly not finished. A lot of people remain involved on an almost daily basis and at this moment, a lot of the work of the last year has translated into organizing relief efforts from the grounds of the most devastated parts of the city.
Culture and Crisis
Paul Werner
I] Whew! that was close! I had planned to give this lecture in French; fortunately, the organizers contacted me and asked me to lecture in English instead; and there's no equivalent for "Big Bird" in French. So. Welcome, Everybody! Hello! Hello!... Hey, kids! Can you say PRODROMIC? Prodromic: It's a historian's term, as well as medical. It means that certain events can give a sense of how later events are going to unfold, without necessarily suggesting a cause-and-effect relationship. A prodrome is purely heuristic… never mind.
An Enclosure Called Politics. Surrealism and Electoral Politics
Bernard Marszalek
The quadrennial abuse visited upon us by the boosters of the State, and their supplicants, grows worse. This electoral circus (to be clear, I am not limiting my scorn to that baroque institution, the Electoral College, ridiculed by all, even those, worldwide, who genuflect to what they perceive to be more sophisticated governing structures), this circus, I repeat, solidified after years of debate in the United States at the end of the 18th Century, when the assumption that control of unruly social forces belonged to wealthy white men (who, alone, had the franchise), was imposed, though not necessarily obeyed (rebellions repeatedly threatened the new rulers of the former colonies), and amounts to nothing more than a counter-revolutionary culmination of a bloody uprising – erroneously termed The American Revolution – that, itself, foreclosed Thomas Paine’s revolutionary vision.
Preoccupying
Alan Moore
[Alan Moore is a writer and anarchist, and the author of Watchmen and V for Vendetta. Having written for the Occupied Times back in January, he returns to OT to discuss anarchy, war, and the roots of the modern education system.]
OT: Having previously suggested that many of the problems humanity faces flow from a tiny number of “leaders” and the current political and economic system they maintain, what do you identify as the main problems in the political and commercial makeup of our society?
AM: I think that with the inevitable erosion of those false certainties which shored up the reality of previous generations, we have seen a subsequent collapse in our sense of societal significance and, not entirely unconnected, in our sense of personal identity. We are no longer certain what the social structures we inhabit mean, and therefore cannot gauge our own value or meaning in relation to those structures. Lacking previously-existing templates such as blind patriotism or religion, it would seem that many people mistake status for significance, building their sense of self on what they earn or on how many people know of their existence. This appears to lead to a fragmented and anxiety-fuelled personality as the most readily-adopted option, which it may be imagined is a desirable condition for those seeking to herd large populations in accordance with their own often-depraved agendas.
Another World
Michelle Kuo talks with David Graeber
[David Graeber talks with the Editor-in-Chief of Artforum about philosophy, totalities, insurrectionism, baseline communism, and his book Debt.]
MICHELLE KUO: Many artists and critics have been reading your work on everything from the long history of debt, to anarchism, to culture as “creative refusal.” That interest seems to be a reflection of how the art world, at this moment, sees itself in parallel to politics and economics. Why does the art world want to call on economic theories of immaterial labor, for instance, or strategies of resistance tied to such theories and worldviews? We love to import terms from outside our discipline and, frankly, our comprehension. The misprision can often be productive, but it can also be very frustrating.
DAVID GRAEBER: Yes, it’s similar to the relation between anthropology and philosophy—as seen by anyone who actually knows anything about philosophy.
"Open Letter to Critics Writing About Political Art"
Stephen Duncombe & Steve Lambert
Last weekend Creative Time held their fourth annual summit on the current
state of artistic activism. Over two days, scores of political artists from
around the world gave short presentations and organized longer workshops. Hundreds of people participated.
The critical response, so far, has been underwhelming: few critics
attended and those that did had little substantive to say. It would be easy
to account for the overall silence and dismiss the surface commentary with
some snarky criticism of our own about a bullshit art world with their
head up their ass who can't recognize that something important is
happening right in front of them. And while this may be self-righteously
satisfying, it is not very helpful. We want to help.
WikiLeaks and the Anarchistic Roots of Global Uprising
Nozomi Hayase
There has been increasing interest in anarchism, with people around the
globe writing and talking about it. A whole new generation is beginning
to discover anarchists from the past like Emma Goldman and Alexeyevich
Kropotkin and a new documentary is in the works. The word anarchy is
swimming through twitter feeds and Facebook shares, coursing through
avenues of the public mind. Ideas of mutual aid and voluntary
association are becoming more and more relevant as the world stands in
dire need of solutions to the current ballooning crisis of economic and
political corruption.
Fusion Arts Manifesto
Shalom Neuman
“There is nothing new under the sun,” goes the old adage. What does change, however, is configuration. That change, as another well-known adage has it, “is constant”; in human terms, it is often the agent of modification, of perception.
Resulting technologies emerge, creating opportunities for broader methodologies of utilization: illumination, sonics, motion, communication, architectonics. Hand-in-hand with science - the imperative of which is the observation and manipulation of phenomena - is the artist who sits at the center of this shifting maelstrom of perception. The artist is part magician and part town-crier, busy with the invention and employment of tools meant to facilitate various modes of articulation.
Fusion arts, in the tradition of artists of the Bauhaus, seeks a closer relationship with science as well. Its manifesto is as follows:
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