[-empyre-] OSW: open source writing in the network
marc garrett
marc.garrett at furtherfield.org
Mon Jan 23 23:55:08 EST 2012
Hi Simon & all,
A warm thanks to Simon for the introduction, and also thanks for
inviting me to share a dialogue with others on the Empyre list.
The discussions have been excellent. Even though I had written various
responses during the last few weeks, in the end I did not post them. One
reason was because I wanted to rethink some of the ideas (I originally)
proposed in response to some of the discussions taking place. The other,
is because we have just been far too busy. This has either involved
editing a large backlog of reviews, articles and interviews for
Furtherfield - getting particular projects and new publications off the
ground, dealing with immediate tech needs on the server, as well as
working at things for the new Gallery & social space
(http://www.furtherfield.org/gallery). A jam packed month already, it
feels like four months worth all rolled into one.
So here I am, wondering how the hell I can explain, as Simon says "how
communities of shared-value emerge through such initiatives and how
their members are able to identify themselves to one another and others."
An important ingredient is the blurring of (and critiquing of)
mechanistic structures and bringing about the facilitation and chaotic
nuances of imaginative experiences that feelings and ideas around 'free
will' gives us, in actions which (hopefully) relate contextually to the
practice or field you are part of. The Culture(s) I am part of, are not
necessarily kept alive through the means of efficiency and canons alone
(it really isn't). It is kept alive through the sharing of mutually
beneficial ecologies, which harbour a healthy understanding and respect
towards self and collective autonomy. Distance, is only an occasional
option - for it involves total immersion if one is to appreciate the
'raw' grass roots context of a community's subtle nuances and everyday
needs. This is where the nourishment is, where the heart of things are.
A constantly 'lived' process of 'being' in touch with the fluxuation of
emerging ideas and initiatives - they formulate and grow as we breath.
Engagement in individual explorations and antics, with peer production
consisting of 'conscious' reflection - and a respect for sharing
knowledge with others goes both ways.
It is the idiosyncratic nature of the human imagination and its
uncontrollable spirit against all odds of oppression and top-down
standardization which attracts us (in Furtherfield), we learn much about
ourselves and others when playing with and working with others beyond
our own 'singular' and centralized mind-hubs. "A culture that does not
appreciate the character of anything eccentric to its model tends to
homogenize and standardize its definition of the good citizen". James
Hillman.
Out of these frameworks of creative production emerges various forms of
creative endeavours. Whether they be from individuals, groups or the
collective itself. From our own perspective, we hope to share and
support a wide spectrum that can allow across the board an engaged art
which explores technology, ecology and social change. Through this
process of constant change and discovery we ask, in what ways can art be
critically minded and progressive, in order to contribute, reclaim and
(potentially) build productive actions and routes that point towards
social and cultural strategies opposed to the dominant paradigm of
neo-liberalism?
A large part of Furtherfield's focus, has been to question contemporary
art's reliance on market driven ideology. We experienced as artists in
the early 80s, and well into the 90s, a UK art culture mainly dominated
by the marketing strategies of Saatchi and Saatchi. The same company was
responsible for the successful promotion of the Conservative Party (and
conservative culture) that had led to the election of the Thatcher
government in 1979. We felt that it was time to make a stance against
such corporations controlling the art scene. Where many equally
interesting artists and their ideas were being pushed aside, whilst the
overpowering corporate needs of Saatchi and Saatchi, exploited their
connections with art education institutions, galleries and press,
promoting just a few individuals over others, based on their
personalities alongside their depoliticized artworks.
We live in an age where the very technology and systems that have
supported progress, through its worldwide channels of production and
prosperity; are now the very same tools threatening the survival of our
species, contributing to climate change and 'of course', the emergence
of the global economic crisis. Neo-liberalist strategies have
successfully dismantled collective institutions who were once able to
challenge the effects of its global dominance; especially the
organisations sharing values associated with social needs in the public
realm. This “is the imposition everywhere, in the upper spheres of the
economy and the state as at the heart of corporations, of that sort of
moral Darwinism that, with the cult of the winner, schooled in higher
mathematics and bungee jumping, institutes the struggle of all against
all and cynicism as the norm of all action and behaviour.” Bourdieu.
It is with this background deeply lodged in our minds, in which we at
Furtherfield have acknowledged (for years in fact) that social change is
urgently needed. Unlike most art organizations, we have an active remit
of exploring an art context which changes the world we live in, rather
than merely supporting privelage and (already supported) hierarchies. At
heart, we are anti-establishment, not necessarily anti-institutional, we
are critical and political about those who exploit from their high-end
positions in holding others down. And we feel that it is the 'duty' of
any 'conscious' and concerned arts organization; to actively find ways
in combating such top-down and mind numbingly shameful domination over
our imaginative freedoms, and general well being. We not only reflect
creative dissent by interviewing, reviewing high-lighting various
individuals and groups engaged in similar issues in their work, but we
ourselves also make art work, initiate projects and write about these
concerns ourselves - whether they are personal or collective contexts,
academic or not.
Anyway, I'll catch my breath and let users of this list ponder on the
subject at hand, before I delve into any specific areas, ideas and
projects.
Any questions, please ask :-)
Wishing you well.
marc
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