[-empyre-] Tacticality: 4 Anna

sdv at krokodile.co.uk sdv at krokodile.co.uk
Thu Apr 30 04:02:30 EST 2009


what does "Nonrepresentability is not a quality but an effect"  and "you 
can't attribute some 'thing' a nonontology!" mean ?

Especially important give what an ontology is.

Anna Munster wrote:
> Actually I am not calling for 'strategy'. I am not calling for 
> anything deterministic like 'how artists should respond' or 'what 
> someone on this list must do'!!! I am asking,instead, for 
> thoughtfulness among some people on the discussion this month!! 
> Thought, requires effort, it requires looking into things and all I am 
> suggesting is that these things are already all around us and indeed 
> have been for many years in the form of very interesting engagements 
> between artists and (as Simon has also suggested) a long period/series 
> of crises.
>  ...and while I am fully cognisant of the military overtones of that 
> word, I was simply using it  to collectively denote a diversity of 
> practices that have an 'investigative' thoughtful and hopeful response 
> at their core. Some of these practices are also tactical – in the 
> sense of tactical media, tactical biopolitics and so forth. Many are 
> not. Many rely on affect and sensation as their means and end, in 
> which case they are nonrepresentational and are certainly not aimed at 
> some determinant outcome ie representing the nonrepresented. Rather 
> they set off or produce affective environments and sensations that 
> might also provide space for thought. Others might use this 'strategy' 
> as well as critique - Hito Steyerl's 'Lovely Andrea' at the last 
> Documenta  for example...
> Nonrepresentability is not a quality but an effect, btw...you can't 
> attribute some 'thing' a nonontology!! 
> One thing I have learned from this month's discussion is that 
> speculative reason and speculative capital have never been more in bed 
> with each other. When thought takes the form of arrogant 
> generalisations it performs in similar ways to speculative capital. 
> Forever trying to hedge itself against its own precarity and 
> inevitable collapse.
> Anna
> On 29/04/2009, at 8:14 AM, Michael Angelo Tata, PhD wrote:
>> Or maybe what Anna is calling for is not strategy, which is primarily 
>> totalizaing and singular, but tactics, which are fragmented, 
>> dspersed, plural and framed in the absence of the God's-eye-view 
>> perspective without which there are no totals, only partial sums?  I 
>> am thinking again of Michel de Certeau.
>> *******************************************
>> *Michael Angelo Tata, PhD  347.776.1931-USA*
>> *http://www.MichaelAngeloTata.com/* <http://www.michaelangelotata.com/>
>> ------------------------------------------------------------------------
>> Date: Tue, 28 Apr 2009 11:09:05 -0700
>> From: editor at intertheory.org <mailto:editor at intertheory.org>
>> To: empyre at lists.cofa.unsw.edu.au <mailto:empyre at lists.cofa.unsw.edu.au>
>> Subject: Re: [-empyre-] Artists' responses to the so-called "crisis"
>> dear anna...interesting comments, though I wonder if your 
>> representation of the non-representable is not a bit too theological 
>> for my taste? And transformation is such a magical enterprise... 
>> alchemically speaking, I do not suspect that attribution of a quality 
>> such as 'non-representabililty' adds or subtracts to the strategic 
>> authenticity or legitimacy of politics, responses or art, for that 
>> matter. Strategies, in other words, are always fatal...to their 
>> object, or to themselves. We all try to catch the falling the knife 
>> with each attempt at becoming, no? 
>> Nicholas Ruiz III, Ph.D
>> Editor, Kritikos
>> http://intertheory.org <http://intertheory.org/>
>> ------------------------------------------------------------------------
>> *From:* Anna Munster <A.Munster at unsw.edu.au 
>> <mailto:A.Munster at unsw.edu.au>>
>> *To:* soft_skinned_space <empyre at gamera.cofa.unsw.edu.au 
>> <mailto:empyre at gamera.cofa.unsw.edu.au>>
>> *Sent:* Saturday, April 25, 2009 3:48:56 AM
>> *Subject:* Re: [-empyre-] Artists' responses to the so-called "crisis"
>> Sorry Nikos but as to your rhetorical 'no' below, I resoundingly 
>> reply NO WAY!!. There is a world of difference between responding 
>> (rather than reacting which is really what Joseph is talking about) 
>> to a social, economic and political crisis using aesthetic strategies 
>> and techniques vs. the 'arts' of finance, government or whatever 
>> other institution you want to aestheticise.
>> (a la Benjamin et al).
>> The examples that Nik and Marc are talking about (and also what Brian 
>> Holmes has been involved with) are emphatically not abut knee jerk 
>> response or reaction but are about using nonrepresentational 
>> aesthetic strategies - among a multitude of strategies which also 
>> include activist, semiotic, political, social and affective ones – 
>> to /transform/ subjective and collective situations. These are 
>> immanent, critical, positive and productive relationships with crisis 
>> ie they do not respond /to / crisis but rather work amid, through and 
>> via crisis to work with what might be transformative about crises. 
>> And these aesthetic strategies are absolutely everywhere both in and 
>> out of the 'art world' eg Critical Art Ensemble, Harwood and 
>> Mongrel,16Beaver, rebublicart project, The Senselab, eipcp, Make 
>> World, edu factory, The Thing, Serial Space (sydney -based for all 
>> you North Americans who need to get out more ;-)  etc etc etc. And 
>> these are just the artists/collectives/projects - there's also a 
>> wealth of brilliant art theory around this - try Hito Steyerl, Gerald 
>> Raunig, Brian Holmes, Matthew Fuller, Florian Schneider, Brian 
>> Massumi all the FLOSS+art etc etc etc 
>> There is NO relation between these kind of politics, responses and 
>> aesthetics and the 'art' of finance - except a relation of revulsion. 
>> On the other hand, if you want to find out about a really fantastic 
>> installation that engaged directly with the stock market and in fact 
>> used a gambling syndicate's money to trade stocks as part of the 
>> actual art work - have a look at Micheal Goldberg's documentation of 
>> his 2002 work 'Catch a Falling Knife' 
>> (http://www.michael-goldberg.com/main.html - go into Projects and 
>> select the title of the piece).
>> Just another point I'd like to make about this month's discussion - I 
>>  have found some of the posts scary and stupid in their absolute lack 
>> of knowledge about anything that is going on about contemporary art, 
>> aesthetic strategies and politics. I really think some people need to 
>> do a bit of preliminary research and investigation before they start 
>> sounding off about  how boring or naive the concept of aesthetically 
>> responding to crisis is,
>> Best Anna
>> On 24/04/2009, at 10:36 PM, Nicholas Ruiz III wrote:
>>     nk...another aspect of interest is the way in which the financial
>>     realm in itself is a creative act, and artful...with all of the
>>     discussion revolving around the perception/reading parallax, I
>>     wonder how people in the artistic/academic community may not
>>     perceive/read financial creativity as art at all...I suspect such
>>     financial activity is a form of art, which contains all of the
>>     aspirations, triumphs and failures that any art project may
>>     enable, no?
>>     nikos
>>     Nicholas Ruiz III, Ph.D
>>     Editor, Kritikos
>>     http://intertheory.org <http://intertheory.org/>
>>     ----- Original Message ----
>>     From: nick knouf <nak44 at cornell.edu <mailto:nak44 at cornell.edu>>
>>     To: -empyre- <empyre at gamera.cofa.unsw.edu.au
>>     <mailto:empyre at gamera.cofa.unsw.edu.au>>
>>     Sent: Thursday, April 16, 2009 1:07:11 PM
>>     Subject: [-empyre-] Artists' responses to the so-called "crisis"
>>     Dear empyre,
>>     It's strange that it's the 16th of the month (at least where I
>>     am), yet
>>     there has been little sustained discussion of present-day artistic
>>     responses to this so-called financial "crisis"--one that exists in a
>>     mythical realm of numbers-that-we-cannot-perceive, but that sadly has
>>     very real impacts on people.  Responses by students, academics, and
>>     activists have not been limited to the resignation of acceptance, nor
>>     abstract theorizing in and of itself, but rather have taken, at
>>     times,
>>     forms of protest and occupation throughout the world, as well as
>>     direct
>>     actions against banking institutions.  (See, in particular the
>>     story of
>>     Enric Duran:
>>     http://news.infoshop.org/article.php?story=20090319182858556 and
>>     http://17-s.info/en .)  How then might we understand these actions
>>     within the context of our own theorizing activities?
>>     This should reflect a special concern as to the impact of this
>>     "crisis"
>>     on academic and cultural institutions.  Indeed, the occupations and
>>     protests at schools---NYU, the New School, University of Rochester,
>>     institutions in Italy and France and Spain and...---suggest the deep
>>     worry that many have regarding how the "crisis" might ultimately
>>     move to
>>     transform culture and learning into more and more reified situations
>>     governed by numbers and the market.  (The Bologna process is
>>     coming to
>>     the
>>     states: http://www.nytimes.com/2009/04/09/education/09educ.html .)
>>     In response there have been discussions and interviews about how
>>     we can
>>     use this time of "crisis" to develop new models that exist in
>>     parallel
>>     to concurrent struggles to force governments to provide for the basic
>>     needs of people.  (See in particular "Interviewing the Crisis":
>>     http://www.interviewingthecrisis.org/ .)  How might we then
>>     reconsider
>>     actions and activities of the past and present and future---TAZs,
>>     tactical media, pirate radio, and many, many, more---in light of
>>     calls
>>     for more standardization and more "accountability"?
>>     And whither the academic institution?  Corporations have fairly free
>>     reign in many departments at colleges and universities in the United
>>     States.  Are we to expect even more of these so-called
>>     "public-private
>>     partnerships" in the future?  What is the role of the institution in
>>     producing the people who created the "crisis" in the first place?
>>      Who
>>     will follow the links between the powerful actors in order to map
>>     their
>>     impact?
>>     I present here a recent project of mine that is my own attempt to
>>     face
>>     some of these issues.  MAICgregator (http://maicgregator.org
>>     <http://maicgregator.org/>) is a
>>     Firefox extension that aggregates information about colleges and
>>     universities embedded in the military-academic-industrial (MAIC)
>>     complex. It searches government funding databases, private news
>>     sources,
>>     private press releases, and public information about trustees to
>>     try and
>>     produce a radical cartography of the modern university via the
>>     replacement or overlay of this information on academic websites.
>>     MAICgregator is available for download right now:
>>     http://maicgregator.org/download .  If you want to see what
>>     MAICgregator
>>     does to a website without downloading it, you can look at some
>>     screenshots: http://maicgregator.org/docs/screenshots .  This is its
>>     first public release, so expect that things might not work properly.
>>     I have written an extensive statement about MAICgregator that
>>     tries to
>>     contextualize it within discourses of net.art, the
>>     military-academic-industrial complex, "data mining", and activist
>>     artistic practices.  As the statement is rife with embedded links,
>>     please read it online:
>>     http://maicgregator.org/statement
>>     I welcome any feedback or discussion that this might provoke; if you
>>     want to e-mail the project authors directly, please e-mail info
>>     --at--
>>     maicgregator ---dot--- org.
>>     http://maicgregator.org/
>>     nick knouf
>>     _______________________________________________
>>     empyre forum
>>     empyre at lists.cofa.unsw.edu.au <mailto:empyre at lists.cofa.unsw.edu.au>
>>     http://www.subtle.net/empyre
>>     _______________________________________________
>>     empyre forum
>>     empyre at lists.cofa.unsw.edu.au <mailto:empyre at lists.cofa.unsw.edu.au>
>>     http://www.subtle.net/empyre
>> A/Prof. Anna Munster
>> Assistant Dean, Grant Support
>> Acting Director Centre for Contemporary Art and Politics
>> School of Art History and Art Education
>> College of Fine Arts
>> P.O. Box 259
>> Paddington
>> NSW 2021
>> 612 9385 0741 (tel)
>> 612 9385 0615(fax)
>> a.munster at unsw.edu.au <mailto:a.munster at unsw.edu.au>
>> ------------------------------------------------------------------------
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>> empyre forum
>> empyre at lists.cofa.unsw.edu.au <mailto:empyre at lists.cofa.unsw.edu.au>
>> http://www.subtle.net/empyre
> A/Prof. Anna Munster
> Assistant Dean, Grant Support
> Acting Director Centre for Contemporary Art and Politics
> School of Art History and Art Education
> College of Fine Arts
> P.O. Box 259
> Paddington
> NSW 2021
> 612 9385 0741 (tel)
> 612 9385 0615(fax)
> a.munster at unsw.edu.au <mailto:a.munster at unsw.edu.au>
> ------------------------------------------------------------------------
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre

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