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Mute proudly present the first issue of Volume 3 of their imprint.
This new biannual edition contains 175 pages of writing and colour
illustrations placed broadly under the banner of 'double negative
feedback'. Included in this relaunched issue: Mute's response to
the Arts Cuts; an Obituary for the much missed radical film-maker
Noreen (Noni) MacDowell; Owen Hatherley on Zaha Hadid and the
neo-liberal avant-garde; Eugene Thacker on the passionate divas of
Italian silent cinema; Lars bang Larsen on anti-disciplinary
feedback; Anna Dezeuze on contemporary art in the age of weightless
capital; John Barker on junkie-capitalism; Demetra Kotouza on the
rebel sounds of rebetiko; an Anthony Iles interview with artist
Graham Harwood; Howard Slater on jazz and compositional
improvising; Felix Stadler on wiki-leaks; Omar el-Khairy on Andrea
Dunbar; Artist Project by Mimi Leung and more. 'We Gladly Feast On
Those Who Would Subdue Us'.
As the Creative City model for urban regeneration founders, Anthony
Iles and Josephine Berry Slater take stock of an era of highly
instrumentalised public art making. Focusing on artists and
consultants who have engaged critically with the exclusionary
politics of urban regeneration, their analysis locates such
practice within a schematic history of urban development's
neoliberal mode. Breaking down into a report and collection of
interviews, this investigation consistently focuses on the
possibility and forms of critical public art within a regime that
fetishises 'creativity'. How, they ask, is critical art shaped by
its interaction with this aspect of biopolitical governance?
Featuring projects and interviews with Alberto Duman, Freee, Nils
Norman, Laura Oldfield Ford and Roman Vasseur.
Manifesto for a Theory of the 'New Aesthetic' - An irreverent
guided tour of the 'New Aesthetic' by Curt Cloninger, The Missing
Factory - John Roberts considers why work remains absent from film
and culture more generally, Barbara Says - Industry Does it Faster
- Roman Vasseur reviews the Artist Placement Group's historic
brokerage of bureaucracy and art, The Ghosts of Participation Past
- Josephine Berry Slater reviews Claire Bishop's recent book,
Artificial Hells, Listener As Operator 3 - Howard Slater finds in
jazz a response to the experience of slavery which preserves and
propels a collective being, Untitled #M001 - #M011 2,325,600
combinations of 16 grays an artist's project by John Houck, Gaming
the Plumbing - Alberto Toscano inspects the gap between financial
fantasies and the muddy realities of the 'robot phase transition',
Destructive Destruction? - How is high frequency trading's drive to
efficiency affecting market dynamics as a whole? Ask Inigo
Wilkinson and Bogan Dragos, Fellowship of the Wrong - A
code-splitting tale of lightspeed trading run by Benedict Seymour,
with illustrations by Rona Tunnadine, The Guest - A short story by
Mira Mattar exploring the annihilating power of luxury, The Garden
of Earthly Delights - Matthew Fuller wades through the Olympic muck
to visit The Crystal World, At the Limit: Self-Organisation in
Greece - Anna O'Lory of Blaumachen identifies some limits to
current struggles in Greece, Whose Rebel City? - Neil Gray
discusses David Harvey's Rebel Cities from the perspective of the
autonomous urban struggles of '70s Italy
Arab Spring. Greece. Uk Riots. Logistics. Writing by Sarah Taylor,
Alberto Toscano, Mark Neocleous, Benjamin Noys, Howard Slater,
Stefan Szczelkun, Anustup Basu, The Khalid Qureshi Foundation,
Demetra Kotouza, Mme Tlank & Mira Mattar, Brian Ashton, Sander
and Gail Day.
Edited by Clemens Apprich, Josephine Berry Slater, Anthony Iles and
Oliver Lerone Schultz Felix Guattari's visionary term 'post-media',
coined in 1990, heralded a break with mass media's production of
conformity and the dawn of a new age of media from below.
Understanding how digital convergence was remaking television,
film, radio, print and telecommunications into new, hybrid forms,
he advocated the production of 'enunciative assemblages' that break
with the manufacture of normative subjectivities. In this
anthology, historical texts are brought together with newly
commissioned ones to explore the shifting ideas, speculative
horizons and practices associated with post- media. In particular,
the book seeks to explore what post- media practice might be in
light of the commodification and homogenisation of digital networks
in the age of Web 2.0, e-shopping and mass surveillance. With texts
by: Adilkno, Clemens Apprich, Brian Holmes, Alejo Duque, Felipe
Fonseca, Gary Genosko, Michael Goddard, Felix Guattari, Cadence
Kinsey, Oliver Lerone Schultz, Rasa Smite & Raitis Smits, and
Howard Slater Part of the PML Books series. A collaboration between
Mute & the Post-Media Lab
In less than two decades, digital networks have moved from
providing a macro background environment - actively accessible by
only a small coterie of scientists, experts, and state or corporate
agents - to pervading and augmenting our lives at an increasingly
micrological level. As our world is plugged into the matrix, we
know from direct experience that the pace of change is feverish,
the scope infinite and the effects in need of constant reckoning.
The Post-Media Lab offers a space in which to examine, reflect and
operate upon the networked, mediatised society from an unhurried
perspective. We seek to slow down the machinic pace of 'cybertime'
just enough to allow for a different tempo of thought to engage and
encompass it. Through a programme of four bi-annual residency
cycles spanning 2012 and 2013, the Lab has provided participants
(artists, technologists, film-makers, activists, cultural/media
theorists) with the practical and intellectual support and
resources to build real-world, aesthetic, technical or theoretical
assemblages which operate acutely on the interface between digital
networks and social and political life.
They should be understood as part of the more gradual process of
what George Caffentzis, in his analysis of the international
situation, calls the 'breakdown of the edu-deal'; the inability for
capital, and therefore the state, to pay for the costs of producing
a well educated workforce or to guarantee that investment in
education will result in a more vigorous economy and increased
living standards for those with qualifications. This breakdown, and
the dogmatism of free market economics which seeks to alleviate it,
has seen the imposition of a business rationale onto what
previously had been regarded as the provision of a public service,
sometimes even a public good in the UK and across Europe. From the
investment of endowment funds on the market, to the conversion of
students into (badly ripped off) consumers, to the no-frills
fixed-term contracts being doled out to staff, to the speculative
purchase of the future IP generated by scientific and technical
departments, to the intended exchangeability of all qualifications
under the Bologna Process, education is being ever more deeply
determined by free market principles. With the ground changing this
fast under staff and students' feet, the ability for collective
action to fight the savage rounds of cuts has itself suffered as a
result of a generalised precarity and fragmentation. Mute's
interview with two organisers of last summer's strike at Tower
Hamlets College reminds us that attacks on education workers and
students are not soley motivated by financial concerns, but also
comprise an attack on our working culture (our rights, values and
expectations more generally). Despite the hostile conditions, we
have nevertheless seen a persistent and recently growing wave of
strikes, actions and occupations, both wildcat and union
co-ordinated, breaking out around the world. Sixth formers,
students, staff and those with a less personal stake in education
are uniting in a new plane of struggle. However, a number of the
reports included here stress the growing tension between the
particularity of the cuts to the education sector and the more
general 'public sector fight back' that is emerging. Despite the
need to recognise the distinctions within the education sector
itself (between academic staff and students on one hand, and
non-academic staff on the other) there is a distinct danger of
forming a coalition solely amongst students and workers who used to
be students. The student occupation at Middlesex University over
the summer of 2010, as well as the more recent spate of occupations
and sit-ins in universities, schools, art galleries and other
public spaces across Britain, have nevertheless ushered in a moment
full of potential. Not only have they sought to be inclusive, but
they have also shown the growing irrelevance of student leaders and
old style mass-organising. Heidi Liane Hasbrouck's piece on the
NUS's denunciation of the Millbank riot highlights this moment of
self-realisation. There is a widening recognition of a need to
self-organise and continually push at the borders of the possible.
This is not '68 redux; and a better thing for it. All of this begs
the question, will this fight-back be enough to save any residual
quality and equality within education and its institutions? Mute
began compiling a mini-dossier of reports, questionnaires and
analyses on the crisis and struggles within education in May 2010,
as it was unfolding in the UK and beyond. Since the magnificent
occupation of the Tory headquarters at Millbank on 9 November -
which seemed to jolt people out of their despair or slumbers - many
more reports on education struggles have been published in Mute.
Here we present you with a selection of some of the most urgent.
The ways in which the personal can be grasped as political is an
exponentially productive legacy of second wave feminism. This idea
connects the arguments made by many of the writers in this issue:
CLINICAL WASTEMAN considers the all too personal experience of
impersonal systems of exploitation but equally, and against
communitarian fantasies, the need to think all imaginable futures
as only socially, not privately, producible; in Occupy, NICK
THOBURN discovers a collective exposure and deprivatisation of the
privatised hells of living through austerity; and P. VALENTINE
exposes the social function of the intimate ordeal of sexual
violence. Maintaining conceptual and experiential distinctions, or
f ire walls, between the personal and the impersonal, the domestic
and the political, both within the mainstream and on the left, is
exposed as actively constituitive of the system as a whole.
Felix Stalder's extended essay, Digital Solidarity, takes it's
point of departure from the waves of new forms of networked
political organisation which have met the onset of the global
economic crisis of 2008. Following Karl Marx, Stalder lays out how
in the current period there are emergent contradictions between
applied innovation and technical progress and the economic
institutions whch organise or restrain this progress. The
contradictions between forces of production and relations of
production are placed in a context in which we have left McLuhan's
Gutenburg Galaxy behind for good and the struggles over where we
will arrive are only just beginnning. A co-publication of Mute
Books & the Post-Media Lab
Post-Fordist state planners, developers, and their entrepreneurial
service arm have debased the meaning of 'creativity' to a shallow
pretext for the further looting of cities and public wealth. The
cookie-cutter aestheticisation of selective zones of our cities
(tourist promenades, waterside public art, creative quarters), is a
mere fig leaf covering the acts of enclosure and exclusion that
cultural regeneration entails. As the sensibilities of the Creative
Class are sensationalised, courted, and monetised, the creative
possibilities of the dehumanised majority narrow. But as the
recession bites, there are signs that dreams of the Creative City
are crashing, as the public-purse strings tighten and the financial
sector's ability to underwrite the creative industries weakens. In
this issue we revel in that possibility, explore artists' creative
sabotage of their own regenerative co-optation, and philosophically
examine what 'expression' might actually be. Deriving Under the
Influence Chris Jones inspects the wounds opened by Laura Oldfield
Ford's pictures of regenerate London CG2014: Formulary For a Skewed
Urbanism Neil Gray ambushes the cowboy capitalists staking out
Glasgow's 'urban frontier' The Creative City In Ruins Artist's
project by Nils Norman Concerning Art and Social Change Brian
Holmes and Marco Deseriis on critical culture within recuperative
'semiocapitalism' All Mouth, No History William Dixon gets gobby
with Christian Marazzi and his linguistic analysis of
financialisation Debt: The First Five Thousand Years David Graeber
gives us the elevator pitch on debt's violent history Hungry Ghost
Steve McQueen's filmHunger whets Paul Helliwell's appetite for some
political context A Climatic Disorder? John Cunningham clears the
air after a meeting between Climate Campers and the NUM 'The Simple
Expression of Complex Thought' M. Beatrice Fazi splices interactive
media and the philosophy of expression Objective Phantoms Kenneth
Cox toys with Romanian poet Gherasim Luca's objects and desires
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