[-empyre-] TBT (ae)ffective as a kinopoltical gesture and safety tool

[Ricardo Dominguez]

>>I was struggling to comprehend Ricardo's references to "gesture" and "kinopolitics" (this misleading term) (I asked this before, when I wondered how
the migrant from Honduras or Guatemala will download the border tool app when she crosses, say, from Mexico to Arizona and loses her way in the desert?)>>

 >>>

Hola Tod at s,

Johannes, "Kino" (just mean movement): before vowels, kin-, word-forming 
element meaning "motion," from Greek kino-, from kinein "to move."

The politics of movement or motion.

Who has the right to move and where do they have to right to move to or 
move away from?

TBT is both affective and effective-both poetic and utilitarian-TBT does 
both at the same time.
(Or else the NGO's we worked with would not have worked with us.)

It is (ae)ffective app.

I do not understand why you find it so difficult to imagine both at the 
same time.

Very best,
Ricardo



On 2/25/16 8:34 AM, Johannes Birringer wrote:
> ----------empyre- soft-skinned space----------------------
> dear all
>
> Isabelle has returned to work at the 'Jungle' camp in Calais, and I much appreciated what she sent us - especially as I had my own doubts and uncertainties about
> futile gestures of the kind that Ai Wei Wei performed, and partly I was struggling to comprehend Ricardo's references to "gesture" and "kinopolitics" (this misleading term) (I asked this before, when I wondered how
> the migrant from Honduras or Guatemala will download the border tool app when she crosses, say, from Mexico to Arizona and loses her way in the desert?)
>
>>> [Ricardo schreibt]
> I often connect the performative matrix (or kinopolitics) of the gesture/s that TBT functions in as an expanded sense of Brecht's gestus (that sounds like justice).
> So that movement across border-scapes towards water/sustenance as a way to manifests a set of social relations: or undocumented or citizens  without borders , data-body relations, or geo-relations of flow, blockage, alter-navigations.
> And yes the question of the intimately connected sense of the political and conceptual become part and partial of TBT's  recombinant theater.
>
>
> If I may ask Tanja Ostojić  – whose work I encountered in another workshop last November, when Marina Gržinić pointed me to the photographs (e.g. "After Courbet, L´origine du Monde")
> - how does one "refuse to claim any particular nationality" when moving between the former east and the former west? At what point do artistic gestures (like the passport from NSK's "state in time" that I hold)
> become ineffective, ridiculous, or arrogant?
>
> Yet your work, Tanja, seems to raise such important questions about sexual violence, degradation and self prostitution which we also began to talk about in these past days. Please tell
> us more about your current work...
>
> regards
> Johannes Birringer
>
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu

-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20160225/a6978c03/attachment.html>