Categories
Features

The Great Firewall of the US and “Wasteful Spending”

I’ll be the occupying editor of Occupy Everything for the rest of the month, because I’m currently an internet refugee. Since UCOP has made it clear that they can and will send the police and the FBI to our door if university servers are used for creating electronic disturbance, my own personal blog has become a space that I can no longer use to write what I want. Everyday it becomes clearer that the internet as a space of freedom is a rapidly disappearing dream. With the latest news about Wikileaks, that the US has cut off their domain name, the country I live in has joined the UK, China, Iran and other countries which filter and control what information can be seen by their populace online. The UK joined this club last year when they took the Pirate Bay offline for UK residents. When I saw Jacob Applebaum speak at The Next Hope hacker conference in New York, I was moved but still held a fundamental question about Wikileaks, will the “truth” change anything? Wikileaks seems to be based on some very modernist notions about truth and democracy, imagining that if people everywhere just knew the truth of the injustice of the Iraq war, that they would rise up and stop it. And yet, such notions as truth and revolution prove to be increasingly bankrupt and the possibility of an uprising presupposes that political passion could overcome the crushing realities of poverty and hunger, or the constant fear of death and the loss of family and friends that so many of us seem to be right on the edge of as we try to just maintain our lives, or the struggle to survive that so many queer people, people of color, differnently abled people and more feel everyday in a society that wants us dead. Still, I am consistently impressed at how much of a threat governments see Wikileaks as, stopping and searching their volunteers at borders, exploiting border control legislation to further political ends, sending federal agents after founder Julian Assange, jailing Bradley Manning for submitting data to Wikileaks and threatening to execute Assange. For links and so much more amazing news, if you haven’t already, see Wikileaks’ twitter feed. Here’s a tweet I appreciated:

RT @JPBarlow:
The first serious infowar is now engaged. The field of battle is WikiLeaks. You are the troops. #WikiLeaks

Another amazing story in this information war is that of AAARG.ORG, but that is a long post for another day.

Apparently the control over information and protection of copyrights for corporations is a far higher priority for governments than freedom of expression, and yet this is just the latest example of how the crisis of capital is really a crisis of priorities of the rulers. While the economy is supposedly taking a downturn and corporations get billion dollar handouts while students and workers are asked to work more for less money, there are always funds to send the police to kick down doors to protect Apple’s patents and the FBI to protect UCOP’s servers. All around me, the effects of the budget cuts that we’ve struggled against so hard are taking effect. Next school quarter, I might not have a job or health care, and my partner and many of my friends are all scrambling to find a way to pay for their education, as all of our jobs have been cut. The class that I’ve been teaching for a year at UCSD has been cut from the curriculum in response to the budget cuts, and as classes are cut TA jobs for those classes are also disappearing.

As the situation continues to worsen in California, the resistance seems to have slowed, hit with the weapon of bureaucracy as hundreds of us respond to investigations and criminal charges for our actions to resist the cuts. Part of this response to stop the resistance has included shutting down information flows, including noncompliant websites that facilitate disturbance, communities that value human expression over copyright controls and communities that value human life over keeping secrets. To try to stave off this loss of online freedom, some have proposed that hackers and developers take direct action and route around the information oppression. The Pirate Bay has proposed the creation of a P2P DNS system, which would prevent governments like the US from taking down sites who’s political views they disagree with, since of course copyright is just another political position and copyfight is a form of resistance. I also proposed, along with other bang lab members, a plan to use wireless routers and mesh networking to rout around phone companies control over the infrastructure of the internet called autonet, which we unfortunately have devoted very little time to making happen. These projects can be seen in the spirit of Fluxus’ call for artists to create infrastructure, except instead of creating magazines to mail out, we have to create an entire postal service. I can only hope that this post, the beginning of my online occupation of this site, is not deemed too disruptive to the information controls to be deported from the online public space of the internet.

Still everyday new resistance springs up, such as 400,000 Italian students taking the streets with the slogan “You block our futures, we block your cities” and universities all over the UK have been occupied, blockaded and have gone on strike. These events serve as a huge inspiration to me to keep on livin. New right-wing forms of resistance, though, are also popping up. Nick Knouf, who created the MAICgregator project which inserts into websites an augmented overlay of information about military and pharmaceutical ties, recently posted about the latest right-wing crowd-sourcing project and his attempts to thwart it. Nick writes on his blog:

=============================================

Attacks on NSF Funding

Eric Cantor ( R ), the incoming House majority leader, is asking people to look for ‘wasteful’ National Science Foundation (NSF) funding. In his view, this would include projects that can be found using the keywords “success, culture, media, games, social norm, lawyers, museum, leisure, stimulus”. Cantor asks people to search for these keywords on the NSF website, make note of the offending award numbers, and submit them to a web-based form. This is an instance of so-called “crowd-sourcing” being used against the very researchers who are key in developing and studying this phenomenon.

I have written a simple script to upload your own “suggestions” to this form. These suggestions consist of texts such as Alice’s Adventues in Wonderland, Capital, Communist Manifesto, and works by De Sade. Additionally, the uploads come from referers such as “http://let.the.air.force.have.a.bake.sale.to.raise.money.gov” and “http://learn.about.research.before.you.cut.what.you.dont.know.gov”. The project follows in a long line of similar interventions such as the FloodNet by EDT and b.a.n.g. lab.

Note: the script that processes the results of the form on Cantor’s site is actually hosted on the personal site of Matt Lira, well-known technical operative of the GOP. Thus this script never connects to any .gov website.

The script and accompanying text files can be downloaded here. All you need is python 2.5 or higher to run. Comments at the top of the file explain any changes you might want to make.

===============================================

In the spirit of blog writing, this is just what I’ve been thinking about. Maybe you just thought tl;dr. Hopefully, I’ll be posting more throughout the month. I look forward to your feedback! Enjoy…


Categories
Features

I/we/they/you/my/your

OE SITE Comments <http://occupyeverything.com/features/our-art-world-toward-actualizing-a-post-fordist-bohemia/comment-page-1/#comment-1275 >


1. micha <http://transreal.org/ > says:

October 11, 2010 at 7:20 pm

Hi Marc, thanks for writing this, its really stimulating in lots of ways. As a semi-outsider, semi-insider, as someone who lives in the more southern part of socal, I have attended only two public school events, the beyond the UC strikes classes. I do think that there is some engagement of questions Of race, class and gender of the public school, but mostly outside of the school itself, I suppose. And surely by the focuses of dialog and channels of outreach the public school uses create a particular constitution of participants. I don’t know that I have anything useful to contribute to this other than to say that I’m fully on board for the project of imagining possible futures and working towards ones I find more desirable, although my attendance will surely continue to be light until elle and I move up there in another 6 months or so. I also think that in light of recent things I’ve been reading like Escape Routes, and generally my thinking about the contemporary project of moving beyond identity through various means like thinking transition, intersubjectivity, desire, etc, that a fuzzy definition for our political project suits it well. Though maybe we need a reading group around “the tyranny of structurelessness” in comparison with Escape Routes, haha…


2. Cara Baldwin says:

October 18, 2010 at 10:24 am

Micha, I think it’s interesting that you propose the Jo Freeman Tyranny of Structurelessness text because it is one that Marc and I have referred to over the past several years, in fact.

That said, I also think the comparison is salient and the history suppressed/unknown so I’m adding a link to Freeman’s essay here:

http://www.uic.edu/orgs/cwluherstory/jofreeman/joreen/tyranny.htm

I am reading through what Marc wrote here again because I read it first (and with uncertainty) as a sort of performance of failure in collective imagination.

A parody of collectivity as subjectivity

The I that subsumes the we and all that…


3. Marc says:

October 19, 2010 at 2:45 pm

Cara, I am very serious in my parody. and the intention is not to parody but to inspire towards the possibility of tragedy. This IS the artworld we have, and it does have its strengths in its present formation. So let’s take it for what it is and see how to best make of it. This artworld (here written to address a scene far wider then the public school) is one of our social movements. If it is humorous to confuse the I with the we, then it is a joke that institutional players say all the time as well.

At the most simple level, audience attendance rates are constitutive of programming and funding decisions. The we makes the I. The I finds meaning in the we. So I am not deluded here. And you know that this gets much more complicated as levels of familiarity between creator and scene get tighter.

As per the Escape Routes comment—I do not know the book, but having read this…

http://www.darkmatter101.org/site/2010/04/21/escape-routes-control-and-subversion-in-the-21st-century/, I am skeptical.

I am skeptical not of the idea of culture having potential, but in the idea that the act of escaping is political. I think the majority of power is more then happy with people escaping- another marketing possibility. It is only when the escapees have actual coalitions and demands that they constitute a threat to power (that is, besides powerful forces that ally themselves with reactionary social values.)

What I hope to inspire in this essay is an honest evaluation of what our broad movement, our broad escape sees as its general course so that this course can be better realized and expressed.


4. Marc says:

October 19, 2010 at 2:51 pm

though in reading more of the book’s synopsis, I probably rush to judgment. I like how the reviewer frames migrants he is looking at writes…”It has never been the primary interest of migrants to change the society they migrate to or aspects of its political system. Instead migrants have been concerned with prolonging their stay by earning a living in the clandestine labor market, renting apartments using their friends’ papers, evade racism by building communities of support, by using doctors who offer medical treatment without demanding insurance cards or finding a partner for a fake marriage. These daily practices of migrants led to the construction of ‘material realities’ which can no longer be ignored by mainstream migration research.

In their book Worlds in Motion, which became part of the canon of migration theory, Douglas Massey and his colleges acknowledge the fact, that all western European societies have become multicultural immigration countries ‘without any popular referendum or explicit decision on the matter’.”


FB WALL

Cara Baldwin via Marc Allen Herbst: so, michael smartly suggested marc and i discuss this from last week. funny thing is, i don’t even where to begin. thoughts?

Towards a Post-Fordist Shop floor Ethic or, ‘What the Fuck Was That?’ «

OCCUPYEVERYTHING<http://occupyeverything.com/features/towards-a-post-fordist-shop-floor-ethic-2/ > occupyeverything.com

The publicity suggested the event would focus on a project that works off notions of antiwar activism and media. The expectant crowd was hungry for something. When the artist playfully shared candy as part of a pre-screening quiz, it seemed curious. But by the time the self-indulgent reel began

October 25 at 10:29am

Marc Allen Herbst  likes this.


Cara Baldwin

I plan on taking up the thread on Situationist recuperation as it seems to be floating around a bit… and then… the idea of a scene. That puzzles me…what else?

October 25 at 10:34am • Like


Caleb Waldorf

a close reading of the words I/WE/US/THEY

October 25 at 10:43am • Unlike • ** 1


Marc Allen Herbst

I’d be interested in talking about socialization of ideas but even more curious as to where you’d start. Also embarrassed that you don’t know where to begin.

October 25 at 11:46am • Like


Cara Baldwin

I’m inclined to start with the for instance:

When “blue chip” artists sell the image of collective history without giving back, this is theft. When theorists publicly poo-poo our collective potential to give comfort to power or stasis, this is a theft of our potential for collective dreaming. When academics sell radical theory while being complicit in structurally conservative departments they sell all our radicality short.’

and then form some questions around the idea of a scene, a close read of I/WE/US/THEY which would touch on recuperation in the sense of socialization of ideas-perhaps in particular relation to Situationist and performative ideologies/histories— and mos def in relation to privatization.

But for now, I need to go face an administrator that frightens the shit out of me.

Chicken. I feel like chicken.

October 25 at 12:03pm • Like


FB EMAIL

Marc Allen Herbst October 26 at 8:18am

sounds like a good way to approach this. I’ll wait for a kick off? What is our goal time-wise, feeling wise, etc. what would you want out of this?

M


Cara Baldwin October 26 at 9:27am

time-wise and feeling wise i’d like to begin our conversation now and also include some of our wall posts here by way of introduction.

it’s seven thereish now, right? i just woke up.

to discuss current structural and ideological shifts in relation to and from ‘the commons’ in a way that is critical and compassionate, and temporally speaking—mostly in the present.


Marc Allen Herbst  October 26 at 10:47am

It’s nineish… are we doing this over the course of days? tonight? I have to put anselm to bed. It’s 9.00 now. I think doing it over a few days would be better, and we do it as a chat? “‘the commons’ in a way that is critical and compassionate, and temporally speaking—mostly in the present.” this is your goal / interests current.


Cara Baldwin October 26 at 10:57am

cool. i’ll get a little coffee for now. let me know when you’d like to begin. and over the next few days is fine. good actually. time-wise tomorrow is going to be a bit thin on my end (i have a 13 hour day w/1 break) but thur-and fri i should be able to make up for it hopefully


Cara Baldwin October 26 at 1:18pm

what you wrote and retracted about tiqqun and badiou being the junior and senior respectively, that was funny. why did you take it down? at any rate, the following phrase came to mind: “taking disaffected to a whole new level.” and then i thought it might be time to go for a walk. is anselm to bed by now?


Marc Allen Herbst October 26 at 1:31pm

yeah, but I gotta sleep. maybe you can kick something off without me if we begin. I’m pooped. I don’t think concurrent writing as we planned will work. cheers


Cara Baldwin October 26 at 1:51pm

that works. sleep tight.


Marc Allen Herbst  October 26 at 10:48pm

Good morning here in Germany, I drop Anselm off and am back by 1 am your time…. Anyway, I took it down because I don’t want to take too many digs at Sean. The first essay I did for the website has some focus on the public school, nothing I haven’t said before in print… and I don’t think its cruel… but you know.

I liked that Galloway article because it framed our distaste for tiqqun – showing (unintentionally) that they are clearly a romanticization, a commodification of French theory. Fake-quoting  (I think they call it paraphrasing) “From France, where the most important theory comes from”.  Really?


Cara Baldwin October 26 at 11:15pm

good morning. this week, i was surprised by the emotion the images of protest in france evoked. people wept. http://liensjournal.wordpress.com/

this was particularly interesting when set side by side with the ‘neo-situationist’ impulse he refers to.

there is this iconoclastic (protestant) distrust of images among the situationists and conceptualists in general. badiou’s fascination with the static, or set, object that is also spectral like a horizon is frustrating to me in that it doesn’t allow for the promiscuity sean refers to. In simple terms, he has some very old-fashioned ideas about what constitutes an artwork. the problem is that he uses these as cognitive armatures to hang philosophical (cultural and spiritual) creative possibilities on.

my problem with tiqqun, and with badiou, is a nihlism that lets them off the hook too easily.  and then, particularly with tiqqun, a fixation with the family romance—that is predictably, and blatantly chauvinistic—ultimately conservative.

what is it about these closed, modular forms that is so appealing?

http://www.medienkunstnetz.de/works/just-what-is-it/


Cara Baldwin October 26 at 11:18pm

speaking of closed, modular forms- i like that i was surprised by the affective power of an image—again.


Cara Baldwin October 26 at 11:21pm

i’ve also been teaching and reading cultural theory and the history of the french revolutionary period. in doing so, it seems apparent that French theory has had little to do with revolutionary movements while material conditions have. theory is sort of the clean up crew. sopping up the blood.


Cara Baldwin October 26 at 11:24pm

or, in the case of badiou the courtier of capital.  and this is not to be anti-intellectual, by any means. it is only to say that when we speak of form and content we look to how people eat.


Cara Baldwin October 26 at 11:30pm

and so the family is a closed, modular form. a bourgeois capitalist form with a cultural history. that is quite interesting in relation to these relations—relevant and somehow invisible. the bar, the basement, the bedroom.


Cara Baldwin October 26 at 11:31pm

the family business. the shop.


Cara Baldwin October 26 at 11:41pm

okay, i’m going to leave it there for now. i want to hear what you have to say.


Marc Allen Herbst October 27 at 8:23am

I’ve been reading into Badiou this day to try and understand your distate for him which I have solidarity with. I’m reading his takes not on art but on general philosophy. And what I see so far, I actually dig it. I like his take on truth-I have been going with George Lakoff’s rewriting of Plato, but this is good too. more soon.


Cara Baldwin October 27 at 9:20am

i don’t want to talk about badiou.


Cara Baldwin October 27 at 9:20am

but okay. and yes on the lakoff.


Marc Allen Herbst October 27 at 9:21am

Good. I love talking about Lakoff. later


Cara Baldwin October 27 at 9:28am

I/we/they/you/our/my/your

i want to talk about systems of individual registration in relation to territories of propriety.


Cara Baldwin October 27 at 9:29am

sorry, i can’t shut up. my mind is going too fast. i will now be quiet. promise.


Cara Baldwin October 27 at 9:30am

stan allen’s field conditions—have you read it?

http://www.crisisfronts.org/wp-content/uploads/2009/07/stan-allen_field-conditions.pdf


Marc Allen Herbst October 27 at 10:55am

No, I haven’t and I’m curious. Why don’t you start with that and then I’ll respond with why I think George LAkoff’s take on metaphor and truth are key to ideas of change and of a sense of public and we. I can then counter whatever you write by saying how dumb Situationists are when read today.


Marc Allen Herbst October 27 at 10:57am

In that we have a beginning that makes some sense while having none and Being true to the text we are supposedly discussing. I mean it. I don’t know who Allen is, but I think that doesn’t matter and I’m sure it will be a good read. I’m present on and off for some time now.


Cara Baldwin October 27 at 11:03am

i just want to clarify that the conversation we’re currently having (in this form) is what i’d like to transcribe, rather directly. so, we’re in it. we’ve begun. can we agree on that?


Cara Baldwin October 27 at 11:08am

that is my understanding of what i am doing, and i think it relates to how we say we. In other words, you can construct a history out of fragments (Benjamin) but there is a kind of project in the recombining of that information.

i am interested in the critique of the artist as a neoliberal subject. i am not interested in badiou, or any figure head simply because i find the approach here and our focus on the him (them) is divisive rather than generative.


Cara Baldwiin October 27 at 11:10am

and i can send a pdf of the stan allen essay but it isn’t necessary, I think, except to locate ideas. in this case, about dynamics of systems and crowds.


Cara Baldwin October 27 at 11:18am

and so what i am gesturing to here is a shift that occurred in the 90’s from a figural to spatial orientation that is related to the political economy of images and the situtationists’ critique. which i don’t find stupid. i find it protestant.


Cara Baldwin October 27 at 11:27am

and badiou seems to be a lapsed catholic. a lot of theory that has cultural capital now is catholic for some reason. but a recuperation of the reformation, too, is too reductive/divisive.


Marc Allen Herbst October 27 at 11:29am

Agreed then. Not stupid, protestant. Purist and looking for an impossible state of representation to be real.

And agreed then regarding the format. I agreed in precognition, though I am caught off guard to know we have begun in earnest. I have a desire to roll with it. I’m uncomfortable with the idea of being interviewed by a peer (you) who I know has a lot to offer at the table.

Lets start somewhere. I suggested, with Allen, if you will, and then I make statement on truth. Truth is metaphors and poetry and a system of learning about the physical realities (Lakoff). Truth is in practice of the experienced and sensible.

This, I think you agree, is one of the first systems… systems of understanding, of knowledge and constructions of knowledge. So, when I talk about our scene, I am talking about a loose group of people who are already involved in some vague and loose project of collectively effecting a world-view.

Anyone who calls what I’ve said “is a lie,” that our scene is not possible because of what the Situationists told us or whatever, I’d argue that they are shilling for either Debord’s book publisher or indirectly the capitalist powers that be. Criticism in political context today should have solutions even if there are no solutions. Especially if there are none.

I’m also very aware that words and social attention are fleeting—and so while I know we have begun, I want to experiment with rigorous writing.

Rigorous meaning, rigorous creativity. I have just now understood completely that we have really begun.

If the stage is already set, then I have only just begun to be aware, active, responsive.


Cara Baldwin October 27 at 11:32am

this is what i am thinking of in relation to all of this:

the construction of partitions between individuals and collectives

the very nature of behavior as practice institutional / phenomenological

setting up the conditions that will alter the medium itself

the construction of environments and institutions

embedded in the protocols of exchange is where the project dwells

in what other ways can objects be distributed?


Cara Baldwin October 27 at 12:20pm

sorry, i sent that last message before i received yours had registered.


Cara Baldwin October 27 at 12:27pm

but i see now, it bears relevance to what you were saying. thinking now.


Marc Allen Herbst October 27 at 2:09pm

“embedded in the protocols of exchange is where the project dwells”

I agree exactly. We can collectively write and act out the possibility for our future when we realize we are doing that. Nothing but our conservative elements say we can’t. Not social history, not science, not capitalist practice. Its very simple, really. Many of the structures our economies have given us are institutions of  discipline… or facilitate the possibility of discipline. For example, the interaction with curator or curator-type is a requisite if one wants to participate in cultural field. The implicit power relationship is such that they either make you bend ot the institution of capitalist or facilitate the collective becoming. Many of our peers and ourselves internalize this disciplinary nature in disallowing affective protocols.

I am curious that you go into talking about distributing objects. I assume you are not talking about art objects, but I don’t know what you are. In filling the space that I imagine you are saying, the follow-up comment I’d have made to: embedding in the protocols of exchange…” is In what other ways do we create movements?

This is the question that follows for me because this is my goal…facilitating movement-movements being defined as the constitution/social construction (on the psychological and social level) of radical politicized subjectivity.


Marc Allen Herbst October 28 at 3:42pm

The ideal space between I and we is the space between needing to look out for one’s own needs and the collective needs.

The ideal space between I and they is the space between us and folks who aren’t riding the train.


Cara Baldwin October 29 at 10:15am

looking our exchanges over and rereading your two texts today and i so, I think we’re about ‘there.’ (there being a site to open up our conversation). do you feel we’re in a good spot too? i really enjoyed and the excuse to spend time thinking about and talking with you all through the week.

i’m home working off and on all day today-meeting with a student from 10am-1pm my time. and will come back after to see if you’ve responded w/questions and clarifications.


Marc Allen Herbst October 30 at 12:02am

seems good. Do we edit this or what?

I guess I could push it to say something, but in the context, It seems like a closed bottle and a good way to end.


Marc Allen Herbst October 30 at 12:02am

there’s always more.

for another time, I guess


Cara Baldwin October 30 at 9:26am

i think we should cut and paste it (copy edit if there are spelling mistakes) but leave the time registration and disclose the medium, or mediatic form so that becomes a consideration.

i also think we should begin it with the comments that follow your first post on the occupy everything site. this shows one of the many ways in which form can be a structurally / culturally significant thing.

in that context, how great that it includes a link to the jo freeman tyranny of structurelessness essay we’ve been inspired by and working through for several years now? maybe this gesture back to form will encourage even more engagement with our discussion.


Cara Baldwin: October 30 at 10:01am

And http://www.english.wayne.edu/fac_pages/ewatten/posts/post34.html


Categories
Features

Towards a Post-Fordist Shop Floor Ethic or, ‘What the Fuck Was That?’


The publicity suggested the event would focus on a project that works off of notions of antiwar activism and media. The expectant crowd was hungry for something. When the artist playfully shared candy as part of a pre-screening quiz, it seemed curious. But by the time the self-indulgent reel began playing, the audience saw clearly that they’d been had.

I left early mumbling under my breath, “what the fuck was that.” I was angry because I had the sense that I’d been robbed. Not only was my time stolen, but also a little of my capacity to make meaningful anti-war artwork, to do detailed and philosophical media projects.

This essay is not about cultural criticism. Instead of looking at what is, this essay leans forward to posit what could be.

We should demand more from our scenes.

Often, when we go out to an art event, we are going to work in the office known as “our scene.” Our scenes gather around public wellsprings of ideals. Though impossible to specifically define, I do know that I’ve meditated with 200 people around the possibility of expanded human consciousness and more just and pleasant societies at the Hammer Museum. With 1000 others, I have gazed upon the collective expression of the desire for borderless states – on display at a Culver City gallery. In Chinatown, I joined a small group of thinkers drinking from the fountain of liberatory possibility for intellectual culture when tied to criticism of specific capitalist regimes.

And though each instance draws from its particular tap, I am pretty sure that our scene’s visionary infrastructure is broad and finds release at multiple spigots. This water metaphor is useful – our scene is constructed from pre-histories (extant water sources and geography or general wider social histories) infrastructures (aqueducts or funding sources and venues) and distribution points (spigots or exhibitions).

Like water, the greatest constituent parts of our scenes are made of elements whose real ownership is next to impossible to define (imagine clouds as social history, cultural formations, and socio-political archipelagos). Secondarily, water like our scenes are a large public work (remember, water is serviced by the historic social movement known as the DWP.)

The scenes we participate in are our public resources. The accretion of intellectual dialogs and practices are among our finest collective tools.

Inside urban planning, cartography, public practice, sociology, cartography and curatorial studies, the nature of our scenes are generally discussed in terms of “public space.” Through these disciplines, we say that public space is in crisis within the current regime of the neoliberal “creative economy.”  This economy hungrily searches for previously public or non-valued resources to privatize and or/monetize. Our scene – this public space – is in crisis when its constituent balance between private and social interests gets tipped too far towards the private.

When “blue chip” artists sell the image of collective history without giving back, this is theft. When theorists publicly poo-poo our collective potential to give comfort to power or stasis, this is a theft of our potential for collective dreaming. When academics sell radical theory while being complicit in structurally conservative departments they sell all our radicality short.

Our scenes are our collective resource. They generate continuing streams of potential. Yet in our neoliberal economy, the scene works double. It is now even more – both a collective dream and a mundane workshop floor.

We use our public space to forge new identities and to egregiously crowdsource for cheap labor

Our scenes are public space. Yet in neoliberal economies, the scene has become a human resource office. From networking with peers to find exhibition spaces to procuring space for employing (often younger, often less-educated) skilled laborers to work as assistants.

Our scenes are public space – a location to present and discuss meanings. Historically, the role of discourse served public ideals. Either as a space of presentation at a project’s fruition or as an ongoing discourse. Yet in this neoliberal economy, public space has also become our propaganda office. Here I use the balanced definition of propaganda – the act of spreading a message as advertising or overt political messaging.

When our art scenes are overwhelmed by these (often necessary) neoliberal realities, that public resource, our scenes, are threatened. When the participants on a panel are chosen for institutional networking potential instead of the ability to hold a meaningful conversation, our scenes are threatened.

Today, more than ever, art and cultural workers do have the ability to harness institutional voices to raise the social and philosophical questions at the hearts of our scenes. The (collectively forged) language and rhetorics, iconography and social practices we employ around our works have the potential for deep resonance within a broader society. Amid collapsing social systems, we stand on stage – for the possibilities that our scenes maintain.

So the quite common act of drawing from the scene without paying back is unfortunate. Employing popular ideological aesthetics and rhetorics (“collaborative”, “activist”, “socio-economic”, “critical”, “open sourced”…) to sell their work. Employing historic strategies collectively scripted behavioral patterns, etc… without crediting the history and legacy in order to individually “advance”. These actions poison the well.

Let me be clear, I am not specifically focusing on artists with “successful careers.” Collaboration with capitalist institutions is an unfortunate necessity for many people. Collaboration with institutions currently provides a louder tool for propaganda, access to social relations, etc..

Our scene imagines itself as an autonomous sphere that can balance mutual collaboration and mutual aid with individual expression. Our scene desires us to actualize this potential. It calls upon us to imagine what is possible when we devote enough time and love to its beautification and adornment.

But Los Angeles doesn’t look like this today.

The ethical worker in Los Angeles’ art scene – no matter where they operate (within or outside of capitalist institutions) – protects the interest of the scene first. The ethical artist understands that the scene’s idealisms are their source of real value. The scene drives them to work and compels others to get to know the work. It messages desire. It provides meaning. The ethical worker does not fuck with this.

Protecting our scene from undue privatization has parallels with the struggle of the Bolivian people in protecting their water from privatization.

Hyper-capitalism wants our meaningful symbols to be emptied. But our strength as individual workers lies in our collective struggle – in our collective attempts to maintain meaning and to construct a collective legacy. Our scene is a non-human accretion – a highly socialized aggregate of collective anger, collective history, collective understanding that beauty (or ugliness) does matter. That which provides for what we call LA’s art scene – this is our strength. When someone empties this out for a byline in some lame blog, they cheapen our resource. This is serious business.

Cultural movements like San Precario have struggled to successfully socialize a post-fordist ethic of values. People have rights that lie outside of day-to-day income. San Precario holds this knowledge together as the source of strength, as a fountain of the possible.

The Escrache Movement in Argentina hold tightly to the collective ideal of justice outside of history. Justice is the driving force in Escrache’s workers’ attempt to return Argentina to history.

The Anti-Deutch autonomist-Marxist movements in Germany hold on to a post-humanist ideal of anti-Semitism as a necessity outside of rational discourse from which to anchor their actions.

In this globalized capitalist world, I am astounded that so much writing on public space does not hold out for a pragmatically ideological construction of public space. No, much of the writing does one of four things- 1) It usefully critiques the traditional notion of public space as innately exclusionary 2) It naively imagines the possibility of escape from a public, as if there was another space for pure interaction 3) It strategizes (in curatorial studies or business classes) ways to best reach and use publics 4) It acknowledges public space to be a complicated subject and makes nothing of it.

What the hell!? As our agency, health and security go down the tubes, is it too much to ask for a useful and reasonable fiction? A collectively narrated fiction that imagines our collective responsibility to nurture our ideals?

Through the socializing of our scene, we begin to gain practical political agency together. By expecting one another to respect the highest (or lowest if you’re a pagan) spirits of the LA Art Scene in a workerist mode, we will find a political language that amplifies even our most abstract projects. Our scene can discover ways to materially, aesthetically and intellectually support it and us.

What does this look like? It would start with a clear statement of expectation – to be treated fairly – in the way that Wage Artists and others articulate.   But beyond this – into speculative economies – it is the honoring of the scene by publicly and privately holding true to ideals in thought and action. Ones work (paid and especially unpaid) as fabricator, designer, theorist, curator, organizer, participant, viewer will not be sold out. We will not be ignored, fail to be credited, gloss over each other’s labor and legacies for a cheap capitalist buck. We must honestly assess our work and use appropriate language to characterize it, avoiding outrageous claims when outrageous goals are attempted. We will honestly appraise our work and how a given project’s dance between the scene and the institutions affects its reception. Ethical workers do not allow institutional desires to recklessly muddy the scene’s ideals for the institutions private profit.

This is not a call for infighting. Instead, I see the potential for socialization of the scene. I understand that this involves a lot of conscious (and half-conscious) socializing. This sensibility takes its time to build.

We cultural workers have far bigger issues.

What I am proposing is that through a collective raising of expectations and a socializing of the spheres of our production and reproduction, our hand as workers will be improved.


Thank you Michael Wilson, Christina Ulke, Cara Baldwin, Robby Herbst, Temporary Services and many others for inspiration and energy in writing this essay. I’m done now.

Categories
Features

Our Art World: Toward Actualizing a Post-Fordist Bohemia









This is not a rant.

Preamble

This is not a complete document, it mustn’t be.

It is my reflection upon a slice of LA’s “art scene” between the years 2006 and 2010. Though I have been a participant in LA’s art worlds since 1999, 2007 marks the general emergence of an ongoing commitment to a distinct and discursive social practice in the region.

The aim of this essay is to look at the social rules under which this specific scene operates. It is written as an open, public analysis of this cooperative social creation. It is sloppy. It also aims to help towards getting stuff done, effectively. Only through honest critical analysis and dreaming do we have perspective.

As Brian Holmes writes in Artistic Autonomy and the Communication Society,

My belief is that you can lonely have a real democracy when a societal concern with the production of the sensible is maintained at the level of a forever unresolved by constantly open and intensively debated question. This is why I like to work with Francois Drake, because he has developed a method, a kind of artistic trick- the “question banks” and associated procedures- that allows him to explicitly bring the sensible world into collective questioning. What we really need is to spend a lot more time asking each other whether our cultural fictions- our architecture and images, our hierarchies and ambitions and ideas and narratives- are any good for us, whether they can be used in an interesting way, what kind of subjectivity they produce, what kind of society they elicit.

In order to occupy everything, we must also constantly and realistically re-imagine how to best occupy our own perch.  I write to reflect on the ground from which our individual and collaborative projects might be strengthened. So as to see who we really are and help us imagine who we can be.

I write in general terms, that is the nature of this essay. It glosses over individual practices and distinct collective projects to gather a mist of generalities, a tone of discourse.

There is much writing about creative cities. There is much writing about post-fordist labor and its relationship to the new social practice. I write to reflect a little of that community within Southern California from the inside.


Preface

This is about WE in Southern California. We who enrich our region’s intellectual and cultural life by committing to participate in cultural and political conversations at spaces like The Public School, LACE, Sea and Space, G727, FOCA, Outpost (which I rarely attend), and a host of other temporary and more long term galleries, project spaces, initiatives, and conferences. It is written for the artists, writers and thinkers who generally talk in order to create something together here somehow.

Within the creative world, and specifically within our sphere, it is possible to suggest that all of our work, whether done alone in a dusty studio or together as a collaborative – is cooperative. While Southern California’s geography is isolating, its constellation of ideas, its intellectual life, is rich. This case can be made for any milieu, so I repeat it here over and over: Southern California’s rich soup of intellectuals, visionaries, inventors, visual artists and  project spaces constitute a collaborative creation. This is our scene. It is a collective project created by many.

Didactically again, we are a we. We are a we, albeit a we constructed from the actions and thoughts and creations of mostly independent individualities.

So in this together bounded by geography, interest and degrees of participation, our thoughts are challenged in these social contexts and settings.

Individually here present, our contributions are limited by our schedules (that zone of conflict between bodily needs, income needs, speculation, the search for joy etc…)

But when together, our possibilities are expanded in context.

We occur in dialog and on Facebook and at small non-profit spaces. We care about the political life of our city, state, country and world. In this desert south of the Tehachapi it is also us who have carved a specific niche in the art world for political practice.

Thus construed as a something, I now qualify what I perceive as the basic operating assumptions of this creatively radical culture we participate in down Los Angeles way.


Body

When we are actively together among peers, there is a general assumption that we agree on what is said in total. This is my first point.

It is also my first point that this working assumption allows for the socialization of our group, thus constituted. There are squabbles and debate, sometimes we’ll attend an outside where the content is way off the map. But our space is constituted on a general agreement of a set of unspoken principles – this is standard for any sociological group. What is curious here is that we are a discursive grouping that never makes clear its ideological principles. In practice we censor ourselves not through ideology but through socialization.

This is notable. Do we miss an opportunity for self-constitution if we generally clarify what we do agree upon? Would the act destroy what is central to our lightly rigorous commons? I would argue that if we are not ideologically rigorous, let us name this and embrace this generative position for all its potential!
This is funny!

But this process does not occurs because we don’t have the time or place- the motivation really, to really understand our and our peers’ goals.

Why is this? This comes to a second important point. We participate generally in this collaboration for individualized political reasons. Here I use the gross definition of individual politics; including in this definition games of positioning that are idealistic and pecuniary. So then, to presently clarify our personal reasons and goals would be difficult. It could reveal schisms between action and word – or better – between the act of speaking and the potential for (future) individual gain. Remember, we are a multi-generational body of cultural workers who often bring collective knowledge and practice into privatized channels for profit (these channels are of course academic jobs, curatorial work, writing gigs, gallery jobs, lectures and speaking fees, the sale of artwork.)  This is a contradiction, though perhaps is not so different from the rest of our culture… a culture just learning again that to be poor and in need is normal. It is a contradiction perhaps unique to our milieu but perhaps even more unique to our era. To recognize and collectively and honestly evaluate this conflicted position might constitute a path through this moment.

Due to this general culture of collaborative obscurity, we have rarely worked rigorously together on a singular political project.

Though our topics (insurrection, student unrest, prisons, public space, labor, open access, environmentalism, post-marxism, etc…) easily suggest focused ideologically based activist/art hybrid projects like “Picture the Homeless,”  a creative contingent for a major anti-war march, or the invention of a creative approach to precarious labor like San Precario. How about a collective revisioning of space like “The Midwests Radical Cultural Cooridor.” We have not done this.

(Yet, it should be noted that we have have organized a few big umbrella projects- Beyond the UC Strikes (Continental Drift), Publico Transitorio. Their nature clarifies further the individualized nature of our collaboration. Both projects acted as social umbrellas or frames for individual voices. The collective voice of the projects’ organizational perspective and structure was consciously obscured to facilitate the individualized voices of singular participants.)

Our interests are too fickle for concerted collective creative focus. Together we are generalists. We act in an apparently casual manner toward the things we care deeply about. Our public culture tracks this tendency with a calendar that remembers a broad range of topics. Our calendar, our public space is bottle rack, a capturing vessel to share privatized creation. It allows a space where we do not have to suss out a collective goal, while allowing for the resemblance of general agreement.

When we do create something, these somethings are art, a text for a singular and carefully curated event, discourse or website. Rarely are these projects emerge from a concurrent social movement (be those movements political or cultural).

And when we display specifically our artwork (the highest commodity form of our collective labor) in our common contexts, it is as often at the behest of an outside curator. An outside curator acting invited as an interloper between our practice; between our practice (though often the curators share similar assumptions as our own). And as I get older, I am pressured to only share work with curators who would pay me, and thus money and the curator fall between us.

We know then that a deeply critical engagement is thus meant to be practiced in isolation. We are light in our analysis. We are light on rigor. Even The Public School models the learner as an individual self-guiding through through a collective drift of a structure. This is a school with no prerhequisites or entrance exams.  Its multiple curriculum allows for equal part intellectual achievement, equal part attainment of social status through hobby, socially-responsible consumer patterns, and smart art production. This is not an ironic statement, it is the marker of our day.

For the privatized artwork that is critically engaging and/or smart– what are their intended political results? Here I do not ask about the more mundane business truths of capitalization. Our works (in performance or sculpture) are generally effective in two ways.

One, they act to map complex emotions and thoughts through socialization. When viewed or engaged with via participation, the work leaves an impression, a memory.

Two, the work models possible behaviour patterns – interpersonal behavior, behavior between ourselves and our unique SoCal urban space, between ourselves and (potential) resources (social or material) and technologies. This work shows possible futures.

These two effects idealize the notion that consumption of work by viewers contributes to an edifying, exemplary or more responsible relationship to the world.

What I am trying to do in this article is another effect… as mentioned in the Artistic Autonomy and the Communication Society essay by Brian Holmes. I am stating that an intimately reflective mirror can successfully ground the creation of realistic but outrageous possible futures. Currently, we are limited by our lack of self-visioning.

We are involved in important work here. What is our culture of criticism? Is there any? Studio visits? Gossip? Public conversations? Someone elsewhere who writes about your work? We do not have a system to analyze our works within the framework of our own ideals – that critically views what has been done and whether the desired political effects have been achieved. This too is left in the private realm.


Conclusion

Our scene is self-selecting. “Come if you are interested.” A conversation around its constitution, in terms of race, gender and class is rarely engaged.

One more thing, how might we build an institutional memory for this scene despite the obvious limitations? How do we lessen redundant projects so that the generations moving through our scene are able to build off of other’s work? What sort of institution could financially and structurally facilitate the most audacious projects that are totally in line with the highest ideals of the scene?

What we really need is to spend a lot more time asking each other whether our cultural fictions- our architecture and images, our hierarchies and ambitions and ideas and narratives- are any good for us, whether they can be used in an interesting way, what kind of subjectivity they produce, what kind of society they elicit. But to do that effectively, we also need to invent new fictions, to shake up the instituted imaginary with what Castoriadis calls the “radical” or “”instituting” imaginary. Only by actively imagining different possible realities can we engage in the operations of desymbolization and resymbolization, or in what Bureau d’Etudes call “the deconstruction and reconstruction of complex machines”- taking the notion of machines in the strong sense whereby it denotes the symbolic, technological and human assemblages that configure ourselves and our societies, and make them work in specific ways they do.

Our scene is a complex machine we have so far scarcely analyzed from within. Let us own a rigorous analysis in order to reconstruct it in a way to more effectively launch our already amazing fictions – our privatized works. Let us critically analyze the intricacies and conflicts of our post-fordist bohemia. Let us understand it for what it is so that we can better understand how it might become what it (larger society) could be.

As an author of this piece, I have my vision for how I would analyze and reconstruct. But it is far more productive to do this together. Also, I’m currently in Germany.


Thank you Michael Wilson for your motivation and Christina Ulke for your contribution of ideas.

Categories
Features

Interview with Brian Holmes: Steps Toward a Cultural Strategy

Michael Wilson: Earlier this year, you were a part of a group of artists, students, educators, writers and theorists who came together at The Public School in an attempt to understand the crisis and to formulate radical responses.  Were your recent pieces on this site conceived in light of that project?

Brian Holmes: Of course. The students’ movement in California and around the US is a real opening for radical politics. It raises basic questions about what society has become and where it is going. I am a long-term critic of neoliberalism, I am convinced that this form of capitalism is totally unsustainable and unlivable. Since, however, it is squarely installed in the realms of knowledge, culture and information — since it is cognitive capitalism — it seems there is no more strategic point for opposition than the universities. That doesn’t mean that every point of opposition is not important, just that this one could become crucial if enough people would raise the basic questions of value, what’s society good for, how am I participating, which consequences does that have on others, etc. Those kinds of questions form the basis of the practical philosophy that interests me. The work at the Public School is one expression of this practical philosophy that comes to grips with the currently existing forms of society and asks how do these social forms make us who we are? How could we transform ourselves and the world we share? As the economy tanks and the basic insanity of the current mode of development reveals itself in the social unconscious, I guess there may well be increasing chances to get involved in this kind of thing.

MW: You seemed to experience a lot of hope at the US Social Forum – conjuring up an atmosphere of something like visionary realism. Did you feel a new kind of energy there? Is there a continuity with the anti-globalization movement or is this something new?

BH: I think it’s totally continuous, but social movements are directly confronted with the times, they are the expression of people facing today’s problems on the ground. To that extent, whenever such movements are active they are new. Perhaps quite a large number of movements are more active now than in the preceding ten years, because the needs and opportunities are greater. I definitely felt a new kind of energy there because I have never been to such a thing in the US (I lived the last 20 years in Europe). I guess most everyone involved in radical politics is somewhat visionary — they see the possibility of a different society — so when you all meet it’s an assemblage or concatenation of visions, that’s pretty inspiring. What’s new to me is the resolve of the American activists to go on with a double program, which involves opposing one or several facets of society as it is, usually on the national or systemic level, while pursuing some already existing transformative process on the ground, at the community level. This doesn’t function in the same way as the diffuse “hope” around the Obama campaign. It’s both more pragmatic and more idealistic. I left the Social Forum feeling very respectful of peoples’ capacities to sustain their systemic resistance on their home territories.

MW: That seems to be key — sustaining resistance on home territories. If our home territories are education, research-based art, journalism and more academic systems analysis, how important is it to integrate our approaches? Through something as disciplined as a collective re-imagining of pedagogy or just by resisting the star/fashion systems of their various disciplines and working together?

BH: That’s a very precise question. Actually the answer demands such an articulation in practice, to see what it produces. In France I used to work with an association of graphic artists based in a city called Ivry, just outside Paris. That association involved journalists, sociologists and also a version of systems analysis called Marxism. Popular education was one of the main concerns of this group, which was called “Ne Pas Plier” (Do Not Bend). Most of the work was around unemployed people’s movements, immigrants’ rights, homelessness and the general theme of exclusion. It was a very strong experience, and we made some significant contributions to the counter-globalization movement. From my perspective there was a limit to the way the group articulated itself, in a kind of national-communist framework that had made a lot of sense for several generations but was now seeing its institutional base erode without being able to connect to anything emergent. So I ended up leaving, but I always had this desire for exactly the kind of articulation you are suggesting. The tendency for me has been to work out of a more active moment — artistic research, activist campaigns — rather than beginning with pedagogy. In the US there is a kind of implied neutrality to pedagogy which undoubtedly has its reasons for existing in a multicultural democracy, but which makes political articulation difficult. There are definitely kinds of knowledge that have value in and of themselves, but knowledge about society does not fall into that category, it has a purpose, it’s political. So there is a kind of intuitive progression whereby journalistic or artistic investigation of society leads both to activism and to the analysis of social systems, with all of that providing the material for an engaged educational practice that is in itself politically motivated (though not simply subordinated to any of the components that go into it). Whether you unfold that progression by a disciplined process or just by working together with some kind of healthy repulsion toward prevailing norms, is a question of taste, of inclinations, of opportunities, whatever. Working across the disciplines, without denying their particular capacities and expertise, is definitely what I find most promising.

MW: In Fault Lines & Subduction Zones, you say that “we missed the opportunity of the 2008 meltdown and failed to impose any re-evaluation of the basic tenets of neoliberalism.” Could you elaborate on this?

BH: Hmm, we just went through the biggest financial crisis since 1929 and there has been no revision of the major tenets of neoliberal economics as put into practice by public officials. The whole recovery effort, including the Keynesian stimulus packages, has been conceived as a way to return the economy to its finance-driven, just-in-time production of hyper-consumerism. The models incarnated by Goldman Sachs and Wal-Mart — lightening fast computerized trading for the few, massive importation of cheap Chinese products for the many — remain the ideal figures of this society. As soon as the credit-card bottoms out it doesn’t work anymore, and obviously people are not going to get jobs out of that economy, just read the headlines. What I found impressive was the almost total absence of any expertise to support an opposing vision. Of course there are opposing visions, notably around the idea that the whole pattern of energy usage in our society needs to be reformulated through the production of basic tools and infrastructure: better insulated living spaces, more efficient transportation networks, multiple and decentralized energy production through solar and wind methods, healthier food production with less industrial inputs and so forth. There is also a growing recognition that these transformations involve basic changes in values and desires, therefore, there is an imaginary side to it, a need to rework “the imaginary institution of society,” as Castoriadis would say. But no one is able to act on these perceptions. One reason is that a broad constituency perceives no need to act: huge sectors of society see no urgency in climate change, they have no cultural problems with big-box consumption, they’re nationalist and militarist and they want less taxation. But the other reason, closer to us, is that for the last thirty years all the experts educated in the neoliberal universities have been trained only to fine-tune and perfect the formulas of finance-driven growth, global supply chains, human capital etc. Which is more functional and therefore more deadly than atavistic nationalism. It will be interesting to see whether the continuing decay in our quality of life leads to the appearance of some new ideas on the political and administrative stages.

MW: In the same text, you call for a “powerful utopian vision … with a concrete grasp” and “a new kind of common sense.” What characterizes this common sense? Fundamental assumptions about possibilities beyond the present crisis? Or a ‘sense of the common’ that others have talked about?

BH: I’ll go with both of those. You know, the theme of “the common” put forth by the Italian autonomist Marxists has been echoed very powerfully in much wider social circles by the Nobel prize awarded to Elinor Ostrom for her work on the commons, that is, on the management or stewardship of collectively used resources like grazing grounds, forests, fisheries and so forth. That’s a big turnaround for a prize committee that has been promoting Milton Friedman’s disciples for so many years, all of whom subscribe to the “tragedy of the commons” thesis that makes the free market into the only effective way of managing scarce resources. What we have been proposing for many years in autonomist circles is that culture itself — including science and technology — is a commons of language, image, affect and ideas, that it grows in productivity and value through the sharing of inventions and that this offers a new basis for social wealth in the knowledge societies. You can find these ideas throughout Hardt and Negri’s work, and they were developed quite extensively in France by participants in the Multitudes journal. Behind that, Karl Polanyi’s book, The Great Transformation, has been a huge inspiration for me. However, when I referred to a “common sense” I wasn’t actually thinking about such subtle things, more about the need to regain a political program that many people can agree on and share broadly as first principles on which the rest depends. For those purposes, an insistence on the common or on common goods as a kind of productive antithesis to private ownership and profit is probably too abstract. Still there’s obviously an interest in pursuing fundamental philosophical work in that direction!

MW: You seem critical of eschatology, but it seems clear that you also believe that we are at the end of an age or at a time of profound transformation. Is this in response to what might be called a fetishizing of ‘the end’ on the left?

BH: Since the time of Marx, leftists have always believed that capitalism was about to end in some mega-crisis. That belief has been obsolete since the Thirties, when Keynesian social-democracy added a new wrinkle to the capitalist state and proved that even major economic crises can be managed. In the wake of the Great Depression, and also of the long-term recession of the 1970s and the subsequent rise of financially-driven globalization, what’s become evident to many social theorists is that the capitalist economy goes through technological, organizational, political and geographical changes in the course of each major crisis. So instead of focusing on “end times” we should look down the pipe and try to imagine what it might be like to come out on the other side. It may not look good, but it can’t be changed if you just deny it. People love the apocalyptic imaginary, but I am more interested in pathways through chaos.

MW: Is this a mirror of what we see on the right – an ‘end’-fetish/death drive channeled into fascist expressions?

BH: Everyone has their favorite psychological interpretation of Cheney, Palin, the Tea Party, Joe the Plumber and so on. But it’s easy to get lost in psychology. I just wanna say that a practical definition of fascism is when corporate elites seize on nationalist sentiment to carry out a program of police repression at home and militarism abroad, with state control over industrial production dictated and legitimated by those same urgencies. That sounds a lot like what we had from 2000 to 2008. I’d also maintain that the issue of state control over the banking and financial sectors is not the same as the militarization of the industrial economy. The latter is more closely associated with the right, and it’s built deeply into this society, Obama has done very little to change that. If there is a failure to get financialization under control and to achieve any transformation of consumerist desires, then a full-fledged war economy is likely to reappear as a pseudo-solution to the decline of American credit. That’s a present danger, given the dysfunctional nature of free-market thinking and the increasing likelihood that its Republican proponents will return to power. Industrial elites, nationalism and the militarization of the economy were the central facts of fascism back in the mid-twentieth century and their relevance to the present can’t be ignored. I do wonder about the denial of the ecological consequences of hyper-industrial society, the outburst of nationalist aggressivity, the underlying death-drive that suggests and so on. Max Blumenthal has written a fascinating but also somewhat simplistic book on James Dobson and Focus on the Family which takes the psychological road, check it out. I would be interested in going back to Wilhelm Reich’s The Mass Psychology of Fascism, which seems to be the founding text of leftist psychology, and exploring the long series of left-right conflicts that have knotted themselves around interpretations of childhood and sexuality. However I have not done the work and it’s probably a good class for The Public School.

MW: That’s an idea. Do you think work like Blumenthal’s is indicative of a liberal-left analysis in general – one that seeks to marginalize all radical challenges to neoliberal hegemony by labeling them ‘extremist’?

BH: Well, I’m sure the liberal left perceives me as an extremist! But even on the further left we are quick to toss our adversaries off as loonies. The thing about the neocons is that for a long time they have been playing a very canny game with the reactions to capitalist alienation that continually arise from their grassroots base. The neocon elites take those expressions of angst very seriously, then blow them up into nationalist, racist, anti-government rhetoric that they can use to win elections and impose their neoliberal program. On the left, we prefer to diagnose the Tea Party types and explain why they’re nuts, twisted, complexed or whatever. Blumenthal has some important psychological insights, but he follows this old leftist bent which is the easy way out, because it explains social problems rather than confronting social actors. At least Reich had a cultural strategy, he was suggesting the need for a different kind of childhood education, exactly the opposite of the disciplinary kind that Dobson recommends. Yet that still avoids the problem of making political arguments against people who have a well-defined stand on issues of national sovereignty, social cohesion, jobs and so on. The thing would be to use the Reichean psychological insights to understand how the nationalistic reactions are constituted, then find an analysis that reopens the connection between those reactions and their initial departure point, which in my view lies in the shock of continuous expropriation, deskilling, economic dislocation, financial predation and manipulative advertising culture. Up until recently the liberal left wasn’t really concerned about these things — they were able to get lucrative jobs out of informationalism and globalization, plus they enjoyed the mobility and the pleasures of hyper-consumerism. Now we have to offer our own answers to much more difficult questions.

MW:
Childhood education is a big part of this — authoritarian forms of organization on the level of education emerge directly from capitalist austerity, don’t they? Instead of talking about the de-funding of the public sector, we’re obsessed with discipline and standards-based achievement goals. This is what Dobson wants to produce from the start, but he certainly doesn’t stop there and neither should a movement that seeks to oppose fascism and/or capitalism. Dobson, and the right in general, consciously operate on many levels. But you seem to be asking for a way of understanding why someone would be mobilized by reactionary passions rather than liberatory ones and that leads one into the dynamics of resentment — precisely the thing capitalism produces more efficiently than anything else, even when it’s in freefall, no?

BH: You are right, an economic collapse can set off the dynamics of resentment, it’s been seen before. But the thing is to find the affective nexus where resentment and authoritarianism spring, and to offer some different resolution, a kind of constructive play — far away from standards and discipline. That was done with the counter-culture of the Sixties and Seventies, but in a utopian way that surfed on an economy of abundance. The utopianism was often libertarian in the broad sense of the term and so it got absorbed into the New Economy, it became the raw material of entrepreneurial innovation, what I call the flexible personality. In that regard, the Nineties marked a dead end in a cultural strategy of play. What has remained alive on the left and is re-emerging now is an ecological constructivism that seeks a positive response to the crisis.

MW: We seem to be collectively desiring some sort of cathartic rupture with the present – militant religious movements are one response, but the analysis you propose is a long way from rapture. How does the left reconcile that gap?

BH: I dunno, I try not to get apocalyptic. Then again, consider that the Book of Revelation was written during the decline of the Roman Empire. You are right that the contemporary sense of meaninglessness and disarray goes deep, and it may be that something more than just the American empire is ending. A full-fledged ecological crisis would ultimately entail a transformation of industrialism itself, a change of civilization. It’s obvious that the Old Left, a praxis philosophy for industrial civilization, has done nothing to overcome the gap you are talking about. Mike Davis goes around the planet of slums and finds only religious prophets. Surely it is more valuable to go to the Andean regions of South America and see how indigenist movements are transforming the leftist call for equality and redistribution. Those are materialist ecological struggles, of tremendous political importance. But I think when you come back, you still have to find out where the roots of social change can take hold here, and what they can blossom into. In the Sixties we started to understand that our frontier society was deeply imperialist, and that the difference between conquest and co-existence is profound. To make that discussion exist again in contemporary terms would be a beginning. To extend the discussion to include the problem of co-existence with our own intellectual faculties and tool-making capacities would be even better. We have to learn to live with the tremendous disruptive capacities of our own minds, it is a civilizational challenge.

MW: If an engaged, critical pedagogy is a way to mediate between activism and theory, how can we keep it vital? Paolo Friere emphasizes the need to work with those who are directly affected by what he calls the ‘thematic of domination’. Pedagogy is crucial to the revolutionary project for him, but it’s a dialogical, generative process facilitated by the ‘teacher/student’ from below — not a process of illumination executed by a vanguard elite. It seems like this form of ‘teaching’ is both more difficult and urgent than ever, considering the standards-based approach that’s infested the educational system in this country.

BH: You’re a working teacher, so you have a far better understanding of what’s possible in the classroom than I do. Particularly when it’s a matter of undoing the strange hierarchical relationship that has emerged between the precarious adjunct and the paying, loan-taking student. What interests me right now are co-educational processes that arise out of a desire to go on exploring ideas and interpreting information, long after the formal learning experience is over — or while it’s happening, for those students who don’t find what they’re seeking in the universities. I think this kind of experimental process could constitute a very different sort of vanguard, one that’s not based on an elite but instead on a radical difference in social relations. There are lots of people starting up such experiments right now and I just want to join them, to collaborate. If we — by which I mean the self-organized educational movement that’s now arising — can manage to develop situations that are intrinsically valuable, then maybe that will influence the wider culture. New ideas and new desires always have to be created by someone, sometime, somewhere. The current restructuring of the public university system is an invitation to look elsewhere, to investigate other possibilities.