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Eugene Anarchists for Torrey (E.A.T.)

posted by jason  ::  May 13, 2008 at 11:34 am  ::  post a comment  ::  tag(s) Anarchism

This is some hilarious awesomeness — Eugene anarchists have decided to
endorse Republican mayoral candidate Jim Torrey. He doesn’t seem very amused:

From Infoshop news:

EUGENE ANARCHISTS ENDORSE JIM TORREY

We, Anarchists residing in the Eugene/Springfield area are endorsing Jim Torrey for Mayor of Eugene in the 2008 election. We hold that a Torrey regime would be sufficiently brutal and unresponsive to drive hordes of otherwise apathetic citizens to our cause. To this end we have resurrected Eugene Anarchists for Torrey (EAT).

Anarchists seek to replace the vertically organized, representative structures that dominate our society with horizontal, directly democratic ones. To achieve this requires a massive, popular rejection of the existing political and economic system. We hope that the election of Torrey will strip away the kind liberal veneer of the city government and re-energize the anarchist movement in Eugene. EAT member George Hayduke says, “The best political leaders are the ones who are lazy and corrupt.”

Though we will not actually be voting, anarchists have been long standing supporters of Torrey endorsing him in the 2000 mayoral race. Historical documentation of our support is available here:
http://www.youtube.com/watch?v=18Nh0fdbZ5o.

We wish him the best of luck in 2008.

ALL POWER TO THE IMAGINATION


The Second Annual NYC Anarchist Bookfair!

posted by jason  ::  April 8, 2008 at 12:49 pm  ::  post a comment  ::  tag(s) Anarchism, Announcements

nyc_bookfair.jpg

Luckily I won’t be moving on the exact same day as the bookfair this year, so I can actually attend. If you’re in NYC this Saturday definitely check it out, it should be awesome. There’ll be much, much more than just books. From the website:

The Second Annual NYC Anarchist Bookfair (2008) will host a one-day exposition of books, zines, pamphlets, art, film/video, and other cultural and very political productions of the anarchist scene worldwide, on Saturday, April 12, 2008 at Judson Memorial Church in Manhattan. The Bookfair will also feature two days of workshops and presentations on Saturday, April 12, and Sunday, April 13, 2008.

The Second Annual NYC Anarchist Bookfair will feature over 40 tables as well as an art gallery. Panels, presentations, workshops, and skill shares will provide further opportunities to learn more and share your own experience and creativity. You know you should attend the 2st NYC Anarchist Bookfair if … * You’re an anarchist publisher, zinester, film/videographer, artist * You’re a member of the worldwide anarchist community * You’re an anarchist based in NYC and looking to connect with other anarchists here * You’re anarcho-curious and looking to find out more about the contemporary anarchist movement, its ideas, ethics, activism or just to find out more about the community.

// top image is from last year’s fair, courtesy of bluecinema’s flickr page.


Does the NY Times Heart Anarchism?

posted by jason  ::  December 25, 2007 at 1:47 am  ::  2 comments  ::  tag(s) Art, Anarchism

jenningsanarchistfigure.jpg First it was their rather positive coverage of 2007’s Anarchist Book Fair here in New York, and now it’s a somewhat lighthearted, yet provocatively titled, look at the shopdropping phenomenon: “Anarchists in the Aisles? Stores Provide a Stage.”

In truth, the article is only kinda sorta about anarchism. The title refers to artist Packard Jennings’ recent project, just in time for the Christmas shopping season, where he produced a series of Anarchist dolls, black clothing, Molotov cocktail and all, and placed them alongside other would-be presents in the toy aisles of unsuspecting stores. He then documented an attempt to purchase one of the dolls at a Target store, where the manager hilariously spots the unfriendly-to-families poleeemical text. Must be one of those crazy anti-globalization kids, he suspects!

And perhaps he’s right (although Mr. Jennings is much closer to 40 than 18). I love much of his work, especially the pamphlet for his “A Day at the Mall” project, but I’m still not even sure if his Anarchist doll is meant to be a stereotype-affirming, satirical ribbing of anarchists, or a genuine attempt at political (or economic) subversion. The packaging features some rather esoteric political commentary (for the lay-shopper), including such gems as:

“Pretend to denounce Kropotkin and the other prominent Anarchists who declared their support for the Allies in the First Imperialist World War.”

A rather insid-y, inside joke from one radical to another, to say the least. Apparently the whole thing is just meant to mess with the head of the average consumer, who couldn’t possible know (or care) what to do with this statement if it were even read in the first place. The article attempts to explain Jennings’ motives:

“When better than Christmas to make a point about hyper-consumerism?” asked Mr. Jennings . . . [he] said he hoped to show that even radical ideology gets commercialized.

Eh? Maybe I’ve had ten too many vegan egg nogs this holiday season, but it seems like the only one attempting to commercialize radical ideology in this situation was Packard Jennings (and why would that be such a bad thing, if sincere?). Last time I checked, radical ideologues only pop into the commercial realm when some hack director needs a paper-thin villain for a James Bond flick. Corporations are pretty good at aping the look and tactics of radical ideologies (most notably, the very concept of culture jamming itself — think the Aqua Teen fiasco), but if they ever actually embraced, say, radical libertarian or genuinely egalitarian ideology — let’s just say I’d like to see how that all plays out.

Nevertheless, Jennings’ Anarchist dolls are hilarious, if nothing else, and any time the New York Times mentions anarchism without either (a) linking it to destructive chaos, or (b) re-hashing the assassination of President McKinley, then it should probably be heralded as a resounding victory for the side of the anarchists. But sadly no, the Times isn’t quite ready to endorse a society without rulers just yet.

// image ripped from Packard Jennings’ website.


Review: Anarchy and Art

posted by jason  ::  October 11, 2007 at 1:07 am  ::  3 comments  ::  tag(s) Art, Anarchism, Books

anarchyandart.jpgFor those who treasure both anarchist and artistic practice, 2007 has been an especially good year, having already seen the release of at least two excellent resources examining the links between the two traditions. Published earlier this year, Realizing the Impossible: Art Against Authority is a collection of essays from the point of view of the creative anti-authoritarian practitioners themselves, mostly artists-as-activists, who generally eschew the artworld-proper of Chelsea and MoMA in favor of direct interventions, street art, and anarchist propaganda.

Allan Antliff’s Anarchy and Art: From the Paris Commune to the Fall of the Berlin Wall, released in late July, takes a somewhat more traditionally academic, art historian approach, filling in some of the gaps in Art Against Authority. Antliff’s investigation is less about self-identified anarchists forging their artistic creations for the purpose of fomenting political revolution, than an uncovering of anarchistic trends or themes overlooked by the usual art-historical narratives. This serves a vital purpose, as Antliff is well aware, because while much has been written about art and politics, any discussion of anarchism by art historians is widely avoided in favor of blanket acknowledgments of general Leftist or Marxist politics.

For example, in my own experience, I remember falling in love with painter Gustave Courbet’s brash style and transgressive subject matter during a 19th Century Painting course – the way he shoved his idealistic depictions of the working class into the faces of the wealthy, self-important aristocratic gatekeepers of high-art style – but I don’t remember hearing too much about his friendship with anarchist philosopher Pierre-Joseph Proudhon, or the anarchist politics that informed Courbet’s work. Antliff corrects such oversights and more, detailing Courbet’s connection with the Paris Commune and Proudhon’s anarchist program.

From there, Antliff weaves his way through Neo-Impressionism, Dada, Russian Revolution-era anarchism, and beyond. One of the more revealing passages is a chapter-length interview with political artist Susan Simensky Bietila. Bietila attended art school at Brooklyn College during the politically explosive years of the mid-1960’s, and has much to say about the repressive techniques of art professors at that time (most notably, Ad Reinhardt). Bietila describes an art faculty that was not only slow to support the wave of 60’s campus activism, but that actively discouraged any connection between artistic and political activities, instead forcing their version of aesthetic purity – namely, abstract art – on their students. She is quick to make a connection between such forms of aesthetic censorship and the specter of McCarthyism hovering over that period – not to mention the ways in which the U.S. government used abstract art for its own reactionary purposes – concluding about Reinhardt: “What an angry, thoroughly negative man. Every single thing that he is against, I advocate. Quite extraordinary.”

In the true spirit of anarchism, Antliff’s Anarchy and Art is not an attempt to write an authoritative history of anarchist art. Instead, together with Art Against Authority, we are given a wide-ranging collection of fragmented narratives, which, when pieced together, bring us closer to understanding the often overlooked importance of anarchism in creative artistic practice. As contemporary social movements continue to be influenced by anarchist principles, and artists further blur the line between art making and political activism, one can only hope that more such investigations about art and anarchism continue to appear.


Awesome Interview with Alan Moore

posted by jason  ::  September 6, 2007 at 12:18 am  ::  post a comment  ::  tag(s) Art, Anarchism

200px-alan_moore.jpg For those unfamiliar, Alan Moore is a legendary comics author, but you probably know him as the guy who wrote the graphic novel V for Vendetta, upon which the crappy movie was based. I came across the following interview a few weeks back on Infoshop News. It’s excerpted from an interview [not with me, duh, I wish!] to be included in a forthcoming book by Strangers in a Tangled Wildnerness of interviews with anarchist fiction authors. Mr. Moore has a unique perspective, to say the least:

I’ll start with the basics: What are your associations with anarchism? Do you consider yourself an anarchist? How did you first get involved in radical politics?

Well I suppose I first got involved in radical politics as a matter of course, during the late 1960s when it was a part of the culture. The counterculture, as we called it then, was very eclectic and all embracing. It included fashions of dress, styles of music, philosophical positions, and, inevitably, political positions. And although there would be various political leanings coming to the fore from time to time, I suppose that the overall consensus political standpoint was probably an anarchist one. Although probably back in those days, when I was a very young teenager, I didn’t necessarily put it into those terms. I was probably not familiar enough with the concepts of anarchy to actually label myself as such. It was later, as I went into my twenties and started to think about things more seriously that I came to a conclusion that basically the only political standpoint that I could possibly adhere to would be an anarchist one.

It furthermore occurred to me that, basically, anarchy is in fact the only political position that is actually possible. I believe that all other political states are in fact variations or outgrowths of a basic state of anarchy; after all, when you mention the idea of anarchy to most people they will tell you what a bad idea it is because the biggest gang would just take over. Which is pretty much how I see contemporary society. We live in a badly developed anarchist situation in which the biggest gang has taken over and have declared that it is not an anarchist situation—that it is a capitalist or a communist situation. But I tend to think that anarchy is the most natural form of politics for a human being to actually practice. All it means, the word, is no leaders. An-archon. No leaders.

And I think that if we actually look at nature without prejudice, we find that this is the state of affairs that usually pertains. I mean, previous naturalists have looked at groups of animals and have said: “ah yes this animal is the alpha male, so he is the leader of the group.” Whereas later research tends to suggest that this is simply the researcher projecting his own social visions onto a group of animals, and that if you observe them more closely you will find out that, yes there is this big tough male that seems to handle most of the fights, but that the most important member of the herd is probably this female at the back that everybody seems to gather around during any conflict. There are other animals within the herd that might have an importance in terms of finding new territory. In fact the herd does not actually structure itself in terms of hierarchies; every animal seems to have its own position within the herd.

And actually, if you look at most natural human groupings of people, such as a family or a group of friends, you will find that again, we don’t have leaders. Unless you’re talking about some incredibly rigid Victorian family, there is nobody that could be said to be the leader of the family; everybody has their own function. And it seems to me that anarchy is the state that most naturally obtains when you’re talking about ordinary human beings living their lives in a natural way. Its only when you get these fairly alien structures of order that are represented by our major political schools of thought, that you start to get these terrible problems arising—problems regarding our status within the hierarchy, the uncertainties and insecurities that are the result of that. You get these jealousies, these power struggles, which by and large, don’t really afflict the rest of the animal kingdom. It seems to me that the idea of leaders is an unnatural one that was probably thought up by a leader at some point in antiquity; leaders have been brutally enforcing that idea ever since, to the point where most people cannot conceive of an alternative.

This is one of the things about anarchy: if we were to take out all the leaders tomorrow, and put them up against a wall and shoot them— and it’s a lovely thought, so let me just dwell on that for a moment before I dismiss it—but if we were to do that, society would probably collapse, because the majority of people have had thousands of years of being conditioned to depend upon leadership from a source outside themselves. That has become a crutch to an awful lot of people, and if you were to simply kick it away, then those people would simply fall over and take society with them. In order for any workable and realistic state of anarchy to be achieved, you will obviously have to educate people—and educate them massively—towards a state where they could actually take responsibility for their own actions and simultaneously be aware that they are acting in a wider group: that they must allow other people within that group to take responsibility for their own actions. Which on a small scale, as it works in families or in groups of friends, doesn’t seem to be that implausible, but it would take an awful lot of education to get people to think about living their lives in that way. And obviously, no government, no state, is ever going to educate people to the point where the state itself would become irrelevant. So if people are going to be educated to the point where they can take responsibility for their own laws and their own actions and become, to my mind, fully actualized human beings, then it will have to come from some source other than the state or government.

There have been underground traditions, both underground political traditions and underground spiritual traditions. There have been people such as John Bunyan, who spent almost 30 years in prison in nearby Bedford. This is the author of “The Pilgrim’s Progress” who spent nearly 30 years in prison because the spiritual ideas he was espousing were so incendiary. This was a part of a movement; around the 17th century in England there were all sorts of strange ideas bubbling to the surface, particularly around the area where I live, in the midlands. You’ve got all of these religions—although they were often considered heretical—which were stating that there was no need for priests, that there was no need for leaders; they were hoping to announce a nation of saints. That everybody would become a saint, and that they would become mechanic philosophers. People could work all day, as say a tinker, but that in the evening they could stand up and preach the word of the Lord with as much authority as any person in a pulpit. This looks to be a glorious idea, but you can see how it would have terrified the authorities at the time.

And indeed it was during the 17th century that, partly fueled by similar ideas, Oliver Cromwell rose up and commenced the British civil war, which eventually led to the beheading of Charles I. I mean it was, in the phrase of one of the best books about the period, “literally a case of the world turned upside down.” There have been these underground traditions, whether they are spiritual or purely political, that have expressed anarchist ideas for centuries, and these days there is even more potential for the dissemination of ideas like that. With the growth of the internet and the growth of communication in general, these ideas are much harder to suppress. Simply putting John Bunyan in jail for 30 years isn’t really going to cut it anymore. Also, the internet does suggest possibilities for throwing off centralized state control.

There was a very interesting piece, a 10 minute television broadcast, made over here by a gentleman from the London school of economics, a lecturer who looked like the least threatening man that you can imagine. He didn’t look like an apocalyptic political firebrand by any means; he looked like and was an accountant and an economist. And yet the actual picture he was painting was quite compelling. He was saying that the only reason that governments are governments is that they control the currency; they don’t actually do anything for us that we don’t pay for, other than expose us to the threat of foreign wars by their reckless actions. They don’t actually really even govern us; all they do is control the currency and rake off the proceeds.

Now in the past, if you wanted to get yourself thrown into jail forever than the best way of going about it woulda been not to have molested children or gone on a serial killing spree or something like that, the best way would have been to try to establish your own currency. Because the nature of currency is a kind of magic: these pieces of metal or pieces of paper only have value as long as people believe that they do. If somebody were to introduce another kind of piece of metal or piece of paper, and if people were to start believing in that form of currency more than yours, then all of your wealth would suddenly vanish. So attempts to introduce alternative currencies in the past have been ruthlessly stamped out. And with the internet, that is no longer anywhere near as easy. In fact, a lot of modern companies have rewards schemes; supermarkets run reward schemes that are in certain senses like a form of currency. A lot of companies have schemes in which workers will be paid in credits which can be redeemed from almost anything from a house to a tin of beans at the company store. There are also green economies that are starting up here and there whereby you’ll have say, an underprivileged place in England where you have an out-of-work mechanic who wants his house decorated. He will, as an out-of-work mechanic, have accumulated green credits by doing the odd job around the neighborhood—fixing peoples cars, stuff like that—and he will be able to spend those credits by getting in touch with an out-of-work decorator who will come and paint his house for him.

Now again, schemes like this are increasingly difficult to control, and what this lecturer from the London school of economics was saying is that in the future we would have to be prepared a situation in which we have firstly, no currency, and secondly, as a result of that, no government. So there are ways in which technology itself and the ways in which we respond to technology—the ways in which we adapt our culture and our way of living to accommodate breakthroughs and movements in technology—might give us a way to move around government. To evolve around government to a point where such a thing is no longer necessary or desirable. That is perhaps an optimistic vision, but it’s one of the only realistic ways I can see it happening.

I don’t believe that a violent revolution is ever going to work, simply on the grounds that it never has in the past. I mean, speaking as a resident of Northampton, during the English civil war we backed Cromwell—we provided all the boots for his army—and we were a center of antiroyalist sentiment. Incidentally, we provided all the boots to the Confederates as well, so obviously we know how to pick a winner. Cromwell’s revolution? I guess it succeeded. The king was beheaded, which was quite early in the day for beheading; amongst the European monarchy, I think we can claim to have kicked off that trend. But give it another ten years; as it turned out, Cromwell himself was a monster. He was every bit the monster that Charles I had been. In some ways he was worse. When Cromwell died, the restoration happened. Charles II came to power and was so pissed off with the people of Northampton that he pulled down our castle. And the status quo was restored. I really don’t think that a violent revolution is ever going to provide a long-term solution to the problems of the ordinary person. I think that is something that we had best handle ourselves, and which we are most likely to achieve by the simple evolution of western society. But that might take quite a while, and whether we have that amount of time is, of course, open to debate.

So I suppose that those are my principal thoughts upon anarchy. They’ve been with me for a long time. Way back in the early 80s, when I was first kicking off writing V for Vendetta for the English magazine Warrior, the story was very much a result of me actually sitting down and thinking about what the real extreme poles of politics were. Because it struck me that simple capitalism and communism were not the two poles around which the whole of political thinking revolved. It struck me that two much more representative extremes were to be found in fascism and anarchy.

Fascism is a complete abdication of personal responsibility. You are surrendering all responsibility for your own actions to the state on the belief that in unity there is strength, which was the definition of fascism represented by the original roman symbol of the bundle of bound twigs. Yes, it is a very persuasive argument: “In unity there is strength.” But inevitably people tend to come to a conclusion that the bundle of bound twigs will be much stronger if all the twigs are of a uniform size and shape, that there aren’t any oddly shaped or bent twigs that are disturbing the bundle. So it goes from “in unity there is strength” to “in uniformity there is strength” and from there it proceeds to the excesses of fascism as we’ve seen them exercised throughout the 20th century and into the 21st.

Now anarchy, on the other hand, is almost starting from the principle that “in diversity, there is strength,” which makes much more sense from the point of view of looking at the natural world. Nature, and the forces of evolution—if you happen to be living in a country where they still believe in the forces of evolution, of course —did not really see fit to follow that “in unity and in uniformity there is strength” idea. If you want to talk about successful species, then you’re talking about bats and beetles; there are thousands of different varieties of different bat and beetle. Certain sorts of tree and bush have diversified so splendidly that there are now thousands of different examples of this basic species. Now you contrast that to something like horses or humans, where there’s one basic type of human, and two maybe three basic types of horses. In terms of the evolutionary tree, we are very bare, denuded branches. The whole program of evolution seems to be to diversify, because in diversity there is strength.

And if you apply that on a social level, then you get something like anarchy. Everybody is recognized as having their own abilities, their own particular agendas, and everybody has their own need to work cooperatively with other people. So it’s conceivable that the same kind of circumstances that obtain in a small human grouping, like a family or like a collection of friends, could be made to obtain in a wider human grouping like a civilization.

So I suppose those are pretty much my thoughts at the moment upon anarchy. Although of course with anarchy, it’s a fairly shifting commodity, so if you ask me tomorrow I might have a different idea…

read the rest here (oh come on, do it)


RNC Welcoming Committee Trailer

posted by jason  ::  August 29, 2007 at 11:29 am  ::  1 comment  ::  tag(s) Activism, Anarchism

It’s not too soon to start thinking about next year’s Republican National Convention, which will be held in St. Paul, Minnesota. Check out this hilarious video, produced by the RNC Welcoming Committee. It’s even been picked up by the Star Tribune.


Justseeds, Back Online as a Beta Site

posted by jason  ::  August 13, 2007 at 11:49 am  ::  post a comment  ::  tag(s) Artworks?, Anarchism

justseeds.JPG

The Justseeds website is back online as a beta site, which means there’s lots of cool stuff to peruse, but if you want to buy anything you have to contact them first.

From their about us page:

Justseeds/Visual Resistance Artists’ Cooperative is a decentralized community of artists who have banded together to both sell their work online in a central location and to collaborate with and support each other and social movements. Our website is not just a place to shop, but also a destination to find out about current events in radical art and culture. Our blog covers political printmaking, socially engaged street art, and culture related to social movements. We believe in the power of personal expression in concert with collective action to transform society.

History
Justseeds was originally started in 1998 by artist Josh MacPhee as a way to distribute his art and the Celebrate People’s History poster series. He slowly expanded Justseeds to include the work of like-minded artists. In 2004 it grew too large to hold in MacPhee’s apartment and order fulfillment was taken on by Clamor Magazine and their new online sales venture Infoshop Direct. Both Justseeds and Infoshop Direct continued to grow, but in late 2006, serious financial problems at Infoshop Direct caused it to unexpectedly and immediately shut down. Justseeds was left with no functioning website, no order fulfillment service, and over $8,000 in debt; things looked pretty bleak. Amazingly, a grassroots effort of hundreds of people donating relatively small amounts of money helped Justseeds pay off all it’s debt, and a couple of successful benefit art shows raised enough money to launch a new and improved website.

During this difficult time, MacPhee reached out to a dozen like-minded artists and previous collaborators as well as the political street art blog Visual Resistance in order to re-create Justseeds as a cooperative effort. Justseeds was transformed into Justseeds/Visual Resistance Artists’ Cooperative, an artist/worker owned and run cooperative, that launched in the summer of 2007.


Revolutionary Films Online

posted by jason  ::  June 21, 2007 at 8:00 am  ::  post a comment  ::  tag(s) Anarchism, Films

9lives_dvd.jpg From Chuck’s blog Negations:

“The good people at ChristieBooks continue to expand their magnificent online library of anarchist and otherwise revolutionary films. Important works that were once buried in distant archives or locked in dusty file cabinets are now available to anyone with an internet connection. Follow this link to see the full list.

Among other gems, there is an extensive collection of rare films about anarchist activity during the Spanish Civil War, a Russian language biopic on Ukrainian anarchist Nestor Makhno (The Nine Lives of Nestor Makhno), an interview with Gillo Pontecorvo on making The Battle of Algiers, and many more. A significant number of the films are in Spanish, although many are in English and many have subtitles.

ChristieBooks is an anarchist multimedia publisher sustained through the sale of its publications and posters and financial support from sympathetic donors. Please consider helping them continue and develop their project by either purchasing some of their books or posters or by donating to their sustaining fund. I just sent them $25 through Paypal (use this email address: christie@btclick.com) but you can also use regular mail (ChristieBooks, PO Box 35, Hastings, East Sussex, TN34 2UX, United Kingdom).

They are presently uploading two or three films per week and, with our help, they will continue keep adding to that figure and enriching this wonderful resource for anarchist and libertarian video footage.”


Non-Alienated Production and The Twilight of Vanguardism

posted by jason  ::  May 31, 2007 at 1:44 pm  ::  6 comments  ::  tag(s) Art, Anarchism

artagainstauthority.jpg My summer reading has begun with the expansive Realizing the Impossible: Art Against Authority, a collection of essays that attempts to survey anarchist artistic practice and theory. I’ve been jumping around so far and have only read a few of the essays, but David Graeber’s (the Yale anthropologist soon to lose his job, likely due to his radical politics) The Twilight of Vanguardism has already provided some food for thought.

Graeber first describes a brief history of the concept of the avant garde, originally conceived by the nineteenth century Frenchman Henri de Saint-Simon, which was proposed as a class of artists that would generate the ideas for a post-French-Revolution social order to replace the old order of the Catholic Church. It didn’t quite work out that way (although, as Graeber notes, it’s interesting that “we had the fascist leaders like Hitler and Mussolini who imagined themselves as great artists inspiring the masses, and sculpting society according to their grandiose meanings…”). He explains:

“The number of nineteenth century artists with anarchist sympathies is quite staggering, ranging from Pissaro to Tolstoy to Oscar Wilde, not to mention almost all early-twentieth century artists who later became communists, from Malevich to Picasso. Rather than a political vanguard leading the way to a future society, radical artists almost invariably saw themselves as exploring new and less alienated modes of life. The really significant development in the nineteenth century was less the ideal of a vanguard than that of Bohemia (a term first coined by Balzac in 1838): marginal communities living in more or less voluntary poverty, seeing themselves as dedicated to the pursuit of creative, unalienated forms of experience, united by a profound hatred of bourgeois life and everything it stood for.”

So instead of seeing themselves as top-down arbiters of a new social order, such artists explored marginal communities based on less alienated forms of production (namely, autonomous artistic practice). Graeber finds the phenomenon’s ultimate realization in the Situationists, who “were the most systematic in trying to develop a theory of revolutionary action according to the spirit of bohemia.”

This all leads to Graeber’s hypothesis that the tendency for artists to be drawn to revolutionary politics is at least partially explained by their lack of alienation. That is, that those involved in less alienated means of creativity, such as artists, are not only more likely to imagine social and political alternatives, but are better able to bring them into being:

“In fact, I would suggest, revolutionary coalitions always tend to consist of an alliance between a society’s least alienated and its most oppressed. This is less elitist a formulation than it might sound, because it also seems to be the case that actual revolutions tend to occur when these two categories come to overlap. That would explain why it almost always seems to be peasants and craftspeople — or alternatively, newly proletarianized former peasants and craftspeople — who actually rise up and overthrow capitalist regimes, and not those inured to generations of wage labor. Finally, I suspect this would also help explain the extraordinary importance of indigenous peoples’ struggles in that planetary uprising usually referred to as the ‘anti-globalization’ movement: such people tend to be simultaneously the very least alienated and most oppressed people on earth.”

So the revolutionary potential of both artists and the indigenous lies, at least in part, in their general lack of alienation, but what of Graeber’s own profession? He imagines a kind of supporting role for non-vanguardist revolutionary intellectuals — namely, a form of auto-ethnography that is conceived of as a gift instead of as a prescription. But what about non-vanguardist artists? What are they to do? Graeber doesn’t speculate, neither does he explain why artists, often subject to market pressures in order to sustain their practice, are any less alienated from their creativity than intellectuals. But it would seem that if artists are to play a role in imagining better social alternatives, then they must first consider their own condition of alienation from their work — an alienation that at times seems inescapable considering the market’s proven ability to subsume even the most well-intended practices into objects of consumerism.


The Miss Rockaway Armada

posted by jason  ::  May 21, 2007 at 1:40 pm  ::  2 comments  ::  tag(s) Artworks?, Anarchism

Two Thursdays ago I attended a benefit party (radical marching bands, silkscreening, booze, vegan treats, and friendly people!) for a group that has one of the most inspiring and exciting ideas for combining art and radical politics that I’ve ever come across — the Miss Rockaway Armada. The following video was made by someone from last summer’s expedition:

To supplement the video, here’s a description of their project that I’ve taken directly from their website:

We are floating down the Mississippi River on a raft we built from trash.
The catch is that we don’t know much about boats or rivers, and we don’t have any money. We know we are blowing crazy hot air, but if the idea makes your eyes glow like coals then you understand what we’re doing. For the last 4 months we’ve been meeting, making phone calls, holding benefits, drawing blueprints and building like crazy. We collected scrap wood from all over the city and hammered it together piece by piece. We had benefit parties and socked away brown rice and dented cans. We organized mostly out of New York because that’s where we live, but we have folks from the West coast as well as the Midwest.

Here’s the plan:
We met in Minneapolis in late July with sections of our raft in tow. We pieced together our pontoons and filled them with salvaged blocks of foam. We made it beautiful and tied on anything that would float, adding it to our junk armada, our anarchist county fair, our fools ark. Our precious cargo is everything we hold dear: pieces and parts of the culture we are already creating. Our zines and puppets, sewing projects and poster campaigns. Mutant bicycles and punk rock marching bands. Plus our thoughts and dreams and irrepressible energy.

Together we’re floating down the Mississippi river, as far as we can, anchoring here and there to perform, give workshops, and create the big huge stinking spectacle we wished would have stopped in our hometowns. And at each place we’re inviting anyone to contribute performances or workshops of their own.

Our flotilla is built green with precycled materials, rainwater collection, solar ovens, and steam calliopes. If we make it right everything will run on sunshine and french fry grease. We want a floating garden, a bicycle-powered sound system, and wind-powered lights. We want to steal hippie technology from the hippies.

We are a small group of people with extensive experience making big insane projects. In the past we have taken 20-person bands to Mexico, pulled off town square-sized guerrilla theater in Berlin, and fed hundreds of people with garbage and love. We know this idea is ridiculous and impossible. That’s why we’re obsessed with it.

About Us
The Miss Rockaway Armada is a group of approximately 25 performers and artists from all over the country including members of the Toyshop Collective, Visual Resistance, The Amateurs, The Floating Neutrinos, The Infernal Noise Brigade, The Madagascar Institute and the Rude Mechanical Orchestra. This July we converged in Minneapolis to construct a flotilla of rafts that will journey down the Mississippi River. We’re stopping in towns along the way, hosting musical performances and vaudeville variety-theater in the evenings, along with workshops and skill-shares centered around arts and environmental issues during the day. In our travels we intend to share stories and to solicit dialogue around subversive and constructive ways of living. We are a group of intrepids who believe in a hands-on, live-by-example approach to creating change within our culture. We are taking cues from Johnny Appleseed, traveling medicine shows, nomadic jewel box theater, and of course that old radical Mark Twain.

Why are we doing this?
For a bunch of reasons. For the adventure. For the impossibility. But for more than this. We grew up in small towns. We remember the bookmobile and the punk rock band that seeded little pieces of something else. And now, even though we moved to big cities and found people like us, we still live in a country that fights wars so it can consume more. We are taking the urge to flee and heading for the center. We want to meet people who aren’t like us. We want to meet ourselves at age 16. We want to be a living, kicking model of an entirely different world — one that in this case happens to float. Plus we suspect that there is something wildish about seeing the stars night after night from the grand old Mississipi. Yeah sure, the Colorado is prettier, and the Rio Grande is its own divide, but the Mississippi has always been the main artery of this country. We want to start where the blood flows straight from the heart.

Ahoy! For models and pictures, please see our raft page.