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

[Irina Contreras]

Hi,

I know I am really late here but I just wanted to chime back in because I
wasn't sure if there was more discussion following the "usefulness" of the
app.

I find this problem or conflict/tension to be an interesting one.

I have heard this criticism of the app too and guess I would be interested
in more of a dialogue if that is even possible, probably not.

My own thoughts are that of course the poetics are a tool, quite literally
for one's sanity in any circumstance. And at the same time I think you have
brought up a good question Johannes. To only be able to run up this notes I
kind of privilege I think.

Thanks for the convo!

On Sun, Feb 28, 2016 at 9:13 AM, Johannes Birringer <
Johannes.Birringer at brunel.ac.uk> wrote:

> ----------empyre- soft-skinned space----------------------
>
> dear Ricardo, dear all
>
> >> [Ricardo schreibt]
> >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?)>
>
> "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.
> >>
>
> yes, you are quite right of course, it's my problem and possibly a
> different cultural/language formation
> that makes me associate cinema with Kino, the way germanic and russian
> languages and writing
> on the politics/aesthetics of 20th Century cinema shape an understanding
> different from Thomas Nail's
> who claims (in 2015) to have invented the term 'kinopolitics' -
> I went to have a look, and found his explanation of "social motion' here:
>
> >>
> Part 2 of this book is a radicalization of Marx's concept of primitive
> accumulation and social periodicity under the concept of "expansion by
> expulsion." However, before we can elaborate on the consequences of such a
> concept for the phenomenon of historical and contemporary movement, it
> needs to be further defined according to the more general method followed
> here: the analytics of social motion,, or what I call "kinopolitics", from
> the Greek word kino, meaning movement.
>
> Kinopoltics is the theory and analysis of social motion: the politics of
> movement, Instead of analyzing societies as primarily static, spatial or
> temporal, kinopolitics or social kinetics understands them primarily as
> "regimes of motion."  Societies are always in motion: directing people and
> objects, reproducing their social conditions (periodicity), and striving to
> expand their territorial, political, juridicial, and economic power through
> diverse forms of expulsion. In this sense, it is possible to identify
> something like a political theory of movement.
> >>[The Figure of the Migrant, by Thomas Nail, in the section on "Expansion
> by expulsion"]
>
> these short paragraphs alone could of course be discussed at length....
>
> My question about your notion of the "gesture" (and your theatrical
> reference in regard to the Transborder Immigrant Tool) was meant simply to
> raise discussion about the rhetorical (or you may call it affective poetic)
> nature of what I meant to interrogate as, in some contexts, futile gestures.
>
> respectfully
>
> Johannes Birringer
>
> _______________________________________________
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> empyre at lists.artdesign.unsw.edu.au
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>
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