Re: [-empyre-] Do You Still Your Own Reality?
Whoops, sorry about the empty message minutes ago. In any case, I am
happy that approaches to the stasis are being taken up. The nature of
the practice that I am trying to imagine - and by no means have an
answer for - would not in any way be anti-intellectual, btw. Just not
cheeky or preachy. It should not tickle the anti-elite gene that George
Bush has been so successful at hacking. (The "regular guy" member of the
elite of the elite of U.S families.) It has to engage people
intellectually and positively, or fail. It has to be inclusive, or at a
minimum, inviting. It has to find other proteins to attach to, because
the pedagogical and satirical vectors through which reason has
traditionally spread have become somewhat immune. I'm not sure what to
do about this, but what can't work for artists (in the U.S. now) is the
The issue of academics is entirely an other one. Importantly however,
tilting at the academy is about the same if not the same as tilting at
the the status quo: it is a vague problem definition mostly due the
diversity and complexity of such institutions (including even the likes
of DARPA and NSF - which do many good things.) If anything, I think we
need to reinstantiate (again, applying to the U.S.) the public faith in
academic institutions. If that sounds regressive to you after close to
100 years of artists tilting against the academy, I would have to
disagree. Academic institutions, for all of their oft cited problems,
have been pillars of support for analysis and new invention - yes in in
the art world too. What we have to do is what Bush should do as a leader
- serve the public interest instead of pronounce reality to it. That is,
generally, imho, how you instantiate trust - in or out of the matrix -
by serving people, including of course the 51% that have voted for
empire. As I indicated - this should be a long, strategic haul... not a
Robbins + Jetztzeit wrote:
Waking up to the aftermath of the US election results and as a Californian – one of whom is being defined by mainstream pundits as being much too democratic for the rest of the country(! – I can only assume that is in relation to the iron boot that is being levied upon our democracy .. or is it now a burgeoning theocracy? s for decades – this is nothing new. The surface scanning/mining of stylistic visual and audio devices has been an MO for the last part of the 20th century, the birth of MTV in the early ‘80’s is a prime example.
I admit to being somewhat taken aback by the dawn of this day in America and please temper my statements with that thought.
In a quick consideration of Brett’s post, I am struck by what might be regarded as somewhat of a reactionary stance. My basis for that posture is that “irony” “media manipulation” “culture jamming” + has long been positioned within various practices associated with post-modernism, issues of representation, identity politics, and its’ aftermath/backlash. Perhaps what is being addressed has more to do with the stasis that which has embalmed much of art practice ( and its’ increasing privatization and seeming return to exclusivities inherent to the market-based system and classicism) since the late ‘90’s and turn of the century — specifically in regard to work that speaks of political underpinnings. Perhaps the re-appropriation and re-mediated art/media works have well reached the point of over-saturation, have lost their ability to have their desired effect- I have long suspected as much. Visual art and media practice have served as the R&D for commercial art application
o are specific to the US government granting agencies.) When was the last time you heard of any funding be awarded to a project that truly questioned the status quo… of anything? When was the last time you heard of a project not being funded or exhibited because it was too controversial (I know this begs the question as to whom?)
Certainly to use the most over used phrase/cliche the world has changed since 9.11 here in the US and to more and lesser degrees throughout the world. An analytical practice might offer a unique bastion from which to produce a “reality congruency” that is non-didatic and non-ironic. However, as an exclusive practice, it strikes me that this stance only serves to re-inforce biases and prejudices of anti-intellectualism that are firmly ensconced in the American psyche.
The academy/university remains to be one of the only viable venues for a art/media practice ( certainly one that demands funding such as media and technologies based practices.) “Art can best serve reason by turning back toward it; trying to serve and fortify it without being cheeky. The academy/university would easily support this approach as it reinforces the “professionalization of the arts” and further reifies it within the academy /university itself. But, again, this seemingly leads us only to reinforcing the bias: “many people are suspicious of teachers and knowledge workers unless they are vetted by a church, and really are impervious to irony.” Unless, however, we understand that the academies and universities themselves are becoming so privatized and beholding to vested interests such as the binary and rationalizing influence of funding sources that are steaming from areas of science – ie. the NFS, the department of homeland security and the DOD ( the latter tw
The question here seems to be how to effectively construct an incisive/innovative practice while acknowledging one is in one way or another a very real part of that “representational machine” and extended entertainment system. Oh No! have I really circled all the around to the Borg or to the Matrix? YIKES - it must be the red glow of the aftermath of our election!
From: Brett Stalbaum <email@example.com>
Sent: Nov 3, 2004 9:55 AM
Cc: soft_skinned_space <firstname.lastname@example.org>
Subject: Re: [-empyre-] Do You Still Your Own Reality?
In retrospect (post-election), and as a citizen of the U.S., it occurs
to me again that way forward for (political) artists (again, here at
least) is no longer tactical subterfuge, but a long term strategy of
analytical practice that produces "reality congruency" tools/experiences
that are non-didactic and non-ironic. In much of my country, (the only I
can speak for), many people are suspicious of teachers and knowledge
workers unless they are vetted by a church, and really are impervious to
irony. Culture jamming, media manipulation, and subterfuge that draw out
the contradictions (mostly by giving gentle assistance to machines such
as the Bush-machine, which are on some level self-ridiculing to begin
with - like the Yes-men and smoky the log, for example) indeed bring
much joy in revealing the now fully merged fundamentalist/corporatist
world-view for what it is. But it reveals it, over and over again, only
to the choir. In a democracy, there is sometimes a price to pay for
making fun of people.
At the same time we are competing with a representational machine that
is able to reflect a great deal artificial-ridiculing back against
reason; to create artificial realities for reasonable people to think
about and respond to (in a mode of constant defense), and to do all of
this with a much greater array of media resources that artists could
ever hope bring to bear. Politically then, there is little we can do in
the short term. Art can best serve reason by turning back toward it;
trying to serve and fortify it without being cheeky. In the U.S.
anyway... In short, the way forward would seem to be a long-term
strategic radical transparency, dialog, and honesty over tactical
culture-jamming and subterfuge.
Brett Stalbaum wrote:
Given, yes. But it raises some interesting questions. At this moment
(politically/tactically) is it most effective (or interesting) for
artists to perform their own "pre-emptive reality annihilation" (or
perhaps: envisioning an alternative future and trying to instantiate it
as the Rove's of the world seem to do quite successfully), or to
"culture jam" any such (nearly psychotic) right-wing reality distortions
(using them as art supplies and comic fodder - seemingly easy to do), or
perhaps to formulate an art practice that turns to and engages with (or
grapples with) the real maintaining a general goal of producing tools
(be they analytic, aesthetic, software, hardware), that are useful for
individuals in terms of formulating their own, more congruent readings
of the real? All? Something else?
" ... the space between zero and one ... "
Los Angeles _ San Francisco
Department of Visual Arts, mail code 0084
University of California, San Diego
La Jolla CA 92093
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