Filed under book | Tags: · aesthetics, affect, archive, art, care, commons, digital culture, infrastructure, knowledge, library, piracy, shadow library, theory
“What do a feminist server, an art space located in a public park in North London, a ‘pirate’ library of high cultural value yet dubious legal status, and an art school that emphasizes collectivity have in common? They all demonstrate that art can play an important role in imagining and producing a real quite different from what is currently hegemonic; that art has the possibility to not only envision or proclaim ideas in theory, but also to realize them materially.
Aesthetics of the Commons examines a series of artistic and cultural projects—drawn from what can loosely be called the (post)digital—that take up this challenge in different ways. What unites them, however, is that they all have a ‘double character.’ They are art in the sense that they place themselves in relation to (Western) cultural and art systems, developing discursive and aesthetic positions, but, at the same time, they are ‘operational’ in that they create recursive environments and freely available resources whose uses exceed these systems. The first aspect raises questions about the kind of aesthetics that are being embodied, the second creates a relation to the larger concept of the ‘commons.’ In Aesthetics of the Commons, the commons are understood not as a fixed set of principles that need to be adhered to in order to fit a definition, but instead as a ‘thinking tool’—in other words, the book’s interest lies in what can be made visible by applying the framework of the commons as a heuristic device.”
Contributors: Olga Goriunova, Jeremy Gilbert, Judith Siegmund, Daphne Dragona, Magdalena Tyzlik-Carver, Gary Hall, Ines Kleesattel, Sophie Toupin, Rahel Puffert and Christoph Brunner.
Publisher diaphanes, Zürich, January 2021
Creative Commons BY-NC-ND 4.0 License
Review: Gerald Raunig (transversal, 2021, DE).
See also Open Scores: How to Program the Commons (2020).Comment (0)
Filed under book | Tags: · care, class, gig economy, labour, precarity, technology, work
“An analysis that traces the role of digital technology in multiplying precarity.
Technoprecarious advances a new analytic for tracing how precarity unfolds across disparate geographical sites and cultural practices in the digital age. Digital technologies—whether apps like Uber, built on flexible labor, or platforms like Airbnb that shift accountability to users—have assisted in consolidating the wealth and influence of a small number of players. These platforms have also exacerbated increasingly insecure conditions of work and life for racial, ethnic, and sexual minorities; women; indigenous people; migrants; and peoples in the global south. At the same time, precarity has become increasingly generalized, expanding to include even the creative class and digital producers themselves.
This collaboratively authored multigraph analyzes the role of digital technology in multiplying precarity. The authors use the term precarity to characterize those populations disproportionately affected by the forms of inequality and insecurity that digital technologies have generated despite the new affordances and possibilities they offer. The book maps a broad range of digital precarity—from the placement of Palestinian Internet cables to the manufacture of electronics by Navajo women and from the production and deployment of drones on the U.S.–Mexico border to the technocultural productions of Chinese makers. This project contributes to, and helps bridge, ongoing debates on precarity and digital networks in the fields of critical computing, postcolonial studies, visual culture, and information sciences.”
Publisher Goldsmiths Press, London, November 2020
Creative Commons BY-NC-ND 4.0 International License
ISBN 9781912685981, 1912685981
Filed under book | Tags: · archive, art, care, colonialism, commons, history, human rights, imperialism, israel, museum, palestine, photography, politics, sovereignty, strike, theory, violence, world
“A passionately urgent call for all of us to unlearn imperialism and repair the violent world we share
In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences.
Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came before, and voraciously seeks out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums.
By practicing what she calls potential history, Azoulay argues that we can still refuse the original imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas at the moment of conquest to the Congo ruled by Belgium’s brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions—an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums—to chart the ways imperialism has sought to order time, space, and politics.
Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as ‘past’ and making the repair of torn worlds the substance of politics.”
Publisher Verso Books, London, 2019
ISBN 9781788735711, 1788735714
Reviews: Ian Wallace (Artforum, 2020), Guy Mannes-Abbott (Third Text, 2020), Louis Rogers (review31, 2020), Stephen Sheehi (Hyperallergic, 2020), Luke Urbain (InVisible Culture, 2020), Lunettes Rouges (Le Monde blog, 2020, FR, part 2).
Roundtable: Gil Hochberg, Zoé Samudzi, Joshua Simon, Robert Yerachmiel Sniderman (Protocols, 2020).Comment (1)