pirate greg writes:

"Dark Matter, Activist Art and the Counter-Public Sphere: MAVN Conference, and the Battles Lost"

Gregory G. Sholette

"The emphasis on the passive element in experience certainly does not claim to be a theory of knowledge? But it is certainly the preliminary condition of any theory of knowledge which is not content with verbalistic and illusory solutions."

Sebastiano Timpanaro(1)

"There is perhaps no current problem of greater importance to astrophysics and cosmology than that of "dark matter". The Center for Particle Astrophysics.(2)

What does one make of a conference entitled Marxism and Visual Arts Now in which examples of contemporary, visual art were all but absent and the few speakers who did address recent artistic practices hardly strayed from citing works and practices not already ensconced within the institutional art world?(3)

art up north writes:

A Cobra exhibition featuring a radical post-war arts movement currently on show in Manchester has already caused a stir in the UK national arts scene.

The fact that the Cobra exhibition has bucked the accepted norm by not going to London maybe causing some annoyance in the capital but can only be a good thing for Manchester art lovers.

Full story available at: ts/stories/Detail_LinkStory=58306.html

jim submits:

"Music From the Left"

R. G. Davis

In Noise: The Political Economy of Music, Jacques Attali argues that musical innovations prefigure social developments. For those of us interested in effecting changes in society he offers this thought: "Any theory of power today must include a theory of the localization of noise and its endowment with form" (1985, xi).

The form of most folk and almost all jazz/pop music does not (cannot) even reflect industrial social relations as we know them, much less make a comment on them. Classical music, or music organized by a trained composer, art music, is more likely to produce an instructional metaphor (and form) with which to examine the foundations of corporate society. I think that the structure/form of a musical composition, no matter what the lyrics, influences the listener's thoughts about the world. The structure contains a view of the world which the listener reiterates in his/her personal musical repetition. The structure then becomes a metaphor for a view of the world.

Full story continues at Davis

On Wednesday, 6/4, THE WEATHER UNDERGROUND opens at Film Forum. It's a new
documentary that explores the rise and fall of the infamous American
radicals whose goal was to overthrow the U.S. government.

These days, many of us continue to fight capitalism and the actions of the
U.S. government both abroad and at home. This film is riveting-- as a piece
of filmmaking, an historical document and as a catalyst for discussion. THE
WEATHER UNDERGROUND presents portraits of young people who were compelled
"bring the war home." It raises myriad questions for us as activists and
global citizens.

Anonymous Comrade submits:

Essays into Digital Aesthetics

Interview with Anna Munster

by Geert Lovink

Anna Munster is one of Australia's distinguished media theorists. Besides
her critical writings she is also a digital artist. She works with digital
imaging and audio to make still, interactive and online work. Her work is
concerned with digital and baroque spaces and the placement of bodies within
these spaces. In 2000 she produced Wundernet
(, a website on wonder, curiosity, the
digital and baroque, the topic of her PhD that she is currently turning into
a book provisionally titled Disturbing the Machine: Embodiment, Aesthetics
and Technology in the Time of the Digital. In 2002, while living in Sydney,
I became familiar with her probes into the terrain of digital aesthetics and
got inspired by her passion for new media arts. After studying philosophy
and digital aesthetics Anna Munster obtained a PhD in digital media theory
and production from the University of New South Wales. She has exhibited in
Australia, Japan, America and online, written for publications including
M/C, Photofile, Artlink, Australian Feminist Studies, and contributed to
various anthologies. She lectures in Digital Media Theory in the School of
Art History and Theory at the College of Fine Arts, University of New South
Wales (Sydney). Since 2002 Anna Munster is member the Fibreculture
facilitators group, the Australian network of new media artists and
researchers ( She is currently working on a book
together with Elspeth Probyn, editing Body-to-Body: A Corporeal Reader. In
this interview we talk about the ins and out of digital aesthetics, the
arts-meets-science rhetoric and the economic reality of the digital dream.


mtn_magpie writes:
",6903,935460,00.h tml"

This man is called Matthew Branton and he wants to give you a present. It's the previous two years of his life: two years spent honing and crafting and agonising over his latest novel, The Tie and The Crest, the story of a poor little rich girl and 'the best thing I've ever done'. For his previous four (The Love Parade, The House of Whacks, Coast, and The Hired Gun), Matthew averaged about £50,000 a book, and every one was optioned for a film.

Cool, clever, with a sizeable following for his witty, zippy, modern writing ('both wise and cracking,' said Esquire), Matthew is shaped like a publisher's dream. The Tie and The Crest was all set to be his proper 'breakthrough' book. But - to Bloomsbury's immense chagrin - he's decided to give it away for free. You can download it from his website, I've read it. It's great.


New York City

PSY-GEO-CONFLUX 2003 marks the inauguration of an annual event dedicated to current artistic and social investigations in PSYCHOGEOGRAPHY ("the study of the effects of the geographic environment on the emotions and behavior of individuals"). Part festival and part conference, it brings together visual and sound artists, writers, and urban adventurers to explore the physical and psychological landscape of the city.

Alan Moore writes

"Green Home" Art Show Opens Eco-Fest

Staten Island, NYC, Opening Saturday, April 26, 7-10 p.m.

The "Green Home" show is a group exhibition for the first Staten Island Greens Eco-Fest. It combines arts conceptual, installation, and activist with traditional media. The theme is now -- modern war is the ultimate unsustainable practice, robbing us of our future.

Artists include: Mary Walling Blackburn, Robert Bingham, Nancy Bonior, Mary Campbell, Jackie Cassen, Center for Urban Pedagogy (CUP), Peggy Cyphers, Stefan Eins, Steve Faust, John Fekner, Peter Fend, Karen Fitzgerald, Green Circus, Richard Hambleton, Virginia Hoge, Rebecca Howland, Sheryl Humphrey, Landscape Project, Su-Jung Lee, William T. Meyer, III, Robin Locke-Monda, Ron Moresan, Hillary Mushkin, Paulette Nenner, Adam Padavano, Claire Pentecost, Kristi Pfister, Cynthia Roberts, Tom Ronce, Christy Rupp Samoa, Phil Sanders, Mara Adamitz Scrupe, Willoughby Sharp (video of Joseph Beuys), Frank Shifreen and Thom Corn, Anne-Katrin Spiess, James Teschner, Time's Up, Alyssa Wood and more added.

"Green Home" will be open weekends 12-6 thru May.

Evening events TBA. Call (718) 556-9008;

Website: Staten island Greens

Anonymous Comrade writes:

"Punk and Autonomia"

[Please note that this is a "work in progress". The author's contact details are below.]

1. Introduction

In 1978 Crass produced a poster that said: "Germany got Bader-Meinhof, England got punk, but they can't kill it." I want to put forward the idea that it is far more analogous to punk to say Italy got Autonomia. 1977 was a year of explosions of creativity amongst sections of youth in England and Italy. In Germany it was a year of repression, of the closing of space. This contemporaneity triggers questions about potential similarities but also masks huge differences between the Italian movement of '77 and the emergence of punk rock in Britain. Punk's emergence at the heart of the Anglo-American music industry ensured the rapid dissemination of its innovations and a widespread and enduring influence. The Autonomia movement's roots however lay in a much more heated and sophisticated political environment. The Italian Communist Party (PCI) of the 1970's was the largest outside the Communist block and had a sphere of influence in the country way beyond the ranks of its members. Through the influence of the writings of Antonio Gramsci, it had developed a relatively sophisticated political culture. The development of autonomist thought out of and against this culture led to a "thorough rethinking of Marxist theory and the more systematic creation of new theoretical paradigms"(De Angelis, 1993). This highly theorised movement developed a far reaching analysis of the autonomous struggles that came to the fore in the cycle of struggles of the sixties. Also important to note is the foundational role that orthodox Italian Marxism had on the development of Cultural Studies as a discipline. Of particular note is the influence that Antonio Gramsci's ideas on the autonomy of the political had on the Birmingham Centre for Contemporary Cultural Studies. This legacy is still discernable today. A politics developed in and against this influential political culture has the potential to be of more than incidental interest. In section two I outline the main ideas of autonomist marxism in relation to the social struggles from which they developed. In section three I consider how these ideas can help us understand punk. I conclude in section four.

Brett Bloom writes "GROUPS and SPACES E-ZINE


#0004 (Networking Part 2)


Groups and Spaces is a platform for collecting information on people working in independent groups and/or running non-commercial spaces. The site encourages building networks between these organizations, disorganizations and alliances. This E-zine is a Groups and Spaces' offering. The E-zine will regularly provide feature length articles, discussions, interviews, projects and histories related to independent working.



ARTICLE: "A Collectography of PAD/D, Political Art Documentation and Distribution: a 1980's Activist Art and Networking Collective," by Gregory G. Sholette 3/03

ANNOUNCEMENT: 18th Avenue Artists' Compound Opens July 2003, Cubao, Quezon City, Philippines.

|||| ARTICLE ||||

A Collectography of PAD/D, Political Art Documentation and Distribution: a 1980's Activist Art and Networking Collective

Gregory G. Sholette

"Our goal is to provide artists with an organized relationship to society, to demonstrate the political effectiveness of image making, and to provide a framework within which progressive artists can discuss and develop alternatives to the mainstream art system."

(PAD/D Mission Statement)

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