books:
Art of
the Digital Age by Bruce Wands is published by
Thames & Hudson, $90.
http://www.theaustralian.news.com.au/story/0,20876,20204057
-16947,00.html
What's
new is old again for the digital avant-garde
Modern art's apparent obsession with new media is
only natural, but for all the cultural
brouhaha, very little has changed, writes Rex
Butler
The
Australian, August 22, 2006
To collude or collide: Technology's influence on
contemporary art is represented in Adrianne
Wortzel's Dream Sequence CONTEMPORARY art and
culture will never entirely get rid of the idea
of avant-gardism. They cannot because it is
the basis of our society, which is the
making available of always-new products and
experiences. Every artistic avant-garde, no
matter what its specific political
orientation, is first of all complicit with the
capitalism that makes it possible.
Today's avant-garde can be found in the so-called
new media arts: digital photography,
computer programs, the internet and so on. The
old media, it seems, have run out of steam
and are no longer able to offer us a
compelling idea of the future.
Now art schools scramble to appoint professors of
new media to make themselves appear
relevant, humanities grants go to scholars who
can prove they use new media in their work,
and publishers rush to put out books on the
new media, not wanting to get left behind.
The rise of new-media art has become a kind of
self-fulfilling prophecy because even the
nay-sayers become part of the hype. It is as
though their fears and misgivings somehow
testify to the power of the idea. The one
thing we cannot be is indifferent to the new
technologies and the revolution, positive
or negative, they will bring about.
Indeed, the arrival of the new media places
critics in a difficult position. A negative
judgment - say, appealing to the reality of
photography or lamenting the disappearance of the
artist's hand - marks
them as conservative, as clinging on to something
that has long passed away. A positive
evaluation does not quite seem right either,
insofar as the only emotion the work calls
up is a kind of sublime wonder at the
magnitude of the technological forces about to
sweep over us.
But what if we argue that these new technologies
fundamentally change nothing? That for all
of their promise or threat of a revolution in
our lives, the truly fantastic thing is
that absolutely nothing has changed? And
that in some ways all of this emphasis on
technology for its own sake is even a
distraction from the real task of imagining
the massive social transformations that are
needed to adequately deal with such crises
as the depletion of fossil fuels and climate
change.
What we are left to admire about the new media is
their packaging and promotion. The visual
arts for a long time have been a forerunner
in that postmodern game of selling hot air.
(The true artists of the past century may
prove to be all those dealers and curators who
made us buy their goods, and the true art
will have been the art of the deal.) What
art has never seemed to lose is the ability to
sell us the future, to make us believe
there is a future.
Art in the Digital Age, a recently published book
by Bruce Wands, is typical of so many on
the new media in art. It's intended not so
much to be read - with only a few
large-typed pages and hundreds of glossy
photos - as to be touched or interacted with. The
book purports to offer a survey of the
various new-media forms, and ironically - for
all the claims made about their
revolutionary nature and the way they mark
an end to art - they appear to replicate fairly
closely the traditional categories. Thus we
have chapters on digital photography,
digital sculpture, digital installation and
virtual reality, performance, music and
sound art and game and internet art.
Aesthetically, the works Wands selects to make
his case are nothing short of calamitous,
and display all the worst faults of the
amateur: an infatuation with technique for
its own sake, over-sincerity and too much
respect for art. How many updated versions of
Giotto, Leonardo and
Raphael, how many hypertext versions of Escher,
Borges and Joyce, must we suffer before
artists realise that it adds nothing to our
experience of the Scrovegni Chapel to have
the angels move, or to Joyce's Finnegans
Wake to have the text laid out like a
concordance?
There is an inherent contradiction in much of the
theorising about new media. The arguments
tend to vacillate between grand statements
that new media make all previous art forms
obsolete - Wands writes that we can no
longer make any distinction between digital and
traditional art - and the supposing of a
long artistic pedigree that would somehow
justify them.
Wands appends a long history of technological
invention to the back of his book, at one
point even putting forward cave painting as the
true origin of the new media: not only the
earliest example of graphic storytelling,
but also the earliest example of an
immersive environment.
Of course, to think of the new media as merely a
series of technological breakthroughs is
the crudest form of historical determinism.
And yet, beyond the dialogue the creators of
digital art
maintain with their machines, it is striking how
little sense they have that what they are
doing is mediated by other forces: social
and political, not to mention
art-historical.
The result is the production of airless,
claustrophobic, lifeless little worlds,
child-like and autistic in their emotional range.
It reaffirms the cliche of computer geeks
or game addicts, hunched over their
keyboards and consoles in darkened rooms,
refusing to open the door.
Even such socially involved work as Ken
Goldberg's Telegarden (1995-2004), in which
a group of users kept alive a small garden
via instructions relayed through the
internet, seems naive and falsely utopian,
like virtually all gestures towards the net as a
form of social democracy or the argument
that we are seeing the rise of a new class
dealing only in virtual property.
Indeed, perhaps the most poignant work in the
book is Stephen Vitiello's World Trade
Centre (1999), in which the sounds of the
wind and of aeroplanes taking off recorded
high up in the World Trade Centre were
transmitted via the internet to an art gallery.
What winds of change did its receivers not
pick up, obsessed as the artist was by the
irreversible social advances brought about by the
new technologies?
The fact to be faced squarely, although
uncomfortably at the beginning of the 21st
century is that, for all of their genius of
technique, nothing has fundamentally
changed with the introduction of the new
technologies.
The same social and political problems remain,
and we seem increasingly unable to envisage
the kinds of social transformations that would
be required to break the impasse. And art
may be not the solution but part of the
problem, exactly what prevents us from
confronting this situation by endlessly
offering palliatives. It is precisely
through art that capitalism trains us in
and reconciles us to its ineluctable
condition.
Art of the Digital Age by Bruce Wands is
published by Thames & Hudson,
$90. |
Remembering Tomorrow: From
SDS to Life After Capitalism.
By Michael Albert
:
"In this candid memoir of the American Left, veteran
anticapitalist activist Michael Albert offers a
characteristically unadorned personal account of recent
American movements to transcend inequality. A uniquely
visionary figure, Remembering Tomorrow recounts a life of
uncompromising commitment, whether chronicling the
battles against the Vietnam War and his own political
awakening as a member of SDS or recounting the challenges
of creating alternative social models, Albert strikes a
balance between resistance and vision. Reflections on the
life of a child of the sixties and would be physicist cum
radical economist, Albert's story is a lesson in the
profound hope that inspires social change."
The book includes, in its 450 pages and 34 chapters, the
history of ZNet, Z, South End Press, Parecon, and much of
the left from SDS to the WSF over the past forty years,
including matters of belief, motives, values,
organization and structure, funding, policy, people, and
interpersonal relations.
The book page for Remembering Tomorrow is at http://www.zmag.org/remtom.html
and includes the cover, table of contents, introduction,
various comments, links for purchase, etc. We hope you
will visit it!
Below we relay some comments by early readers and below
that, Albert's author interview about the book.
Early Comments on Remembering Tomorrow...
About the book, Noam Chomsky writes on the jacket:
"Michael Albert's accomplishments in his life and
work have been truly remarkable.... This lively memoir
not only adds new dimensions to understanding his own
perspective and ideas, but also provides revealing and
often surprising insights into the exciting history of
the past forty years, the popular movements and the
institutional structures that have sought to contain and
undermine them, their successes and failures, and the
prospects for moving on. It is quite an
achievement."
Barbara Ehrereich also writes on the jacket:
"Remembering Tomorrow is the deeply engaging story
of Michael Albert's evolution from frat boy to one of the
world's premiere utopian thinkers--not just a tale of the
sixties, it'll be just as relevant in the late 21st
century."
And Howard Zinn, writes, also on the jacket:
"Michael Albert is an important thinker who takes us
beyond radical denunciations and pretentious analysis to
a thoughtful, profound meditation on what a good society
can be like."
The book is just out, this being the first public notice,
and there haven't been many readers yet, obviously -
though a few people had pre publication copies and we do
have a few comments they have offered for display.
Brian Kelly, a prominent SDS organizer at Pace University
and in NYC wrote:
"Remembering Tomorrow provides an incredible array
of practical lessons from the past that we can apply
directly to our lives in the present and future. Its look
at the sixties and decades since, addressing culture,
political events, and especially activist organizing,
presents history not only honestly, but as we need it.
Its focus on vision and strategy challenges our current
over emphasis on only critique. Its exploration of what
type of society we really want by way of historical
examples and experiences is mind altering. Weaving
together issues of sex, gender, race, and class, of what
has been and of what could be, of people and their lives,
places and their conflicts, and events and their
implications, all culled from personal experiences, makes
for a wonderfully human book that is also inspiring and
edifying. Remembering Tomorrow is a must read for every
young organizer who is serious about struggling to win. I
have read it twice and am going back for a third
time!"
Cynthia Peters, Boston Organizer and writer and past
staff person at South End Press wrote:
"Sometimes poetic, sometimes analytical, always
provocative, tenacious, and hopeful, Michael Albert
brings his unique understanding of the past and his
fearless vision of the future together in this remarkable
memoir. These are not just the reminiscences of a 60s
radical, this is the story of someone for whom the
lessons of the time took root and grew into a lifelong
commitment to create alternative institututions that
address the pain of the oppressive systems that hurt us
all. That pain is never far from the surface in
Remembering Tomorrow. (Expect to cry while you read.) But
nor is the hopefulness that a radically better world is
possible. (You can expect to feel that as well.) It is a
rare honor and pleasure to get to know this organizer,
thinker, economist, media activist, and true visionary
through his deeply felt reflections on war, patriarchy,
classism, and racism -- all emerging through the lens of
someone who has spent the last 40 years on the front
lines of social change work. Read Remembering Tomorrow.
You won't emerge unscathed. But you will emerge with a
new sense of the possible and with a set of insights and
lessons that should help us all deal with current
realities while pointing ourselves toward a better
future."
Brian Dominick, Syracuse activist and collective member
at The Newstandard, wrote:
"What is most significant to me about Michael
Albert's memoir is not its insight into how he formed his
radical worldview, but its insight into how he has
maintained, expanded and applied it in the decades since.
Becoming a radical, as Michael insists was true for him
and certainly was for me, is no major feat. More often
than not, it just happens, for many people requiring no
extra effort. But resisting social pressures to surrender
one's radicalism -- not just during a life phase but over
a lifetime -- is another matter entirely. For younger
people with decades to go in the development of our
beliefs and the application of our own radical
principles, this book is a series of countless lessons in
how not to be overcome with despair, how not to sell out
and how to be most effective in applying one's energies
while carving out a workable and fulfilling life. But
Remembering Tomorrow isn't a series of lectures, and it's
anything but a compilation of crotchety observations by a
tired dinosaur of the Sixties. It's a captivating read
that even an old friend of Michael's will find filled
with surprising thoughts, encounters and tangents about
everything from organizing and violence to money and
personal relations, about people, places, and yes, even
things. If you want or need hope about building movements
and institutions capable of truly revolutionary social
change, this is the book for you."
Justin Podur, a Toronto journalist and activist, who
volunteers with ZNet, as well, wrote:
"The institutions we live in, Michael Albert
teaches, prevent us from thinking clearly about what is
important. They also prevent us from connecting with each
other. In such a world, our visions of a better future
can become convoluted and disconnected. Michael Albert's
life's work has been to present a case for a vision of a
better future that is clear, lucid, and not convoluted.
By giving us the human story out of which that case
emerged, he helps us to connect it - with a history and
trajectory of struggle, with the movement that taught him
so much, and with the tradition of ideas that informs his
insights into economic vision and political strategy. I
read Remembering Tomorrow for this, for the stories, and
to learn more about ideas and people that influenced
me."
Chris Spannos, Editor of AK Press's forthcoming Parecon
and the Good Society and Hope, Reason, and Revolution,
and a ZNet Staff Member wrote:
"How do we envision, create, strategize and seize
libratory institutions for libratory outcomes --
ultimately on a societal scale? Sadly, currently social
movements often reinvent the wheel, sometimes not even as
well as those who have come before. We too often overlook
lessons of the past. Remembering Tomorrow provides
diverse lessons extrapolated from a breadth of intense
movement experiences combined with a rigorous effort at
theorizing vision and strategy -- in all realms of life.
For me, the lynch pin of Albert's memoir was his decision
to become a full time revolutionary, and not a
professional physicist, mathematician, academic
economist, professor, social worker, or a co-opted
chemical company hack; all of which would probably have
been easier for him, but a great loss for our Left
movements. Albert has been instrumental in creating South
End Press, Z Magazine, and ZNet, and in developing the
Participatory Economic vision. Remembering Tomorrow uses
the memoir approach to navigate from 1960 through 2005.
Humorous, moving, revealing, Remembering Tomorrow is a
vehicle conveying empowerment, insight, and inspiration.
Remembering Tomorrow is eloquent, audacious, pugnacious
and necessary. We owe it to ourselves and to our social
movements to learn from it and carry its lessons
forward."
Andrej Grubacic, anarchist historian wrote:
"This gripping memoir is Michael Albert's gift to
the revolutionaries of my own generation. His writing
emerges from his life, one of consistent visionary
activism. A delightful, amusing, shrewd and very
perceptive look at American radicalism, "Remembering
Tomorrow" is the first historical perspective on the
New Left of the 60's and the New Left of the contemporary
global social movements - and the links between them. A
pleasure to read, "Remembering Tomorrow" is the
book from which much can be learned."-
Again, the book page link for Remembering Tomorrow is http://www.zmag.org/remtom.html
Please visit.
The ZNet author interview with Albert,
about Remembering Tomorrow...
Remembering Tomorrow
ZNet Book Interview
Michael Albert
(1) Can you tell ZNet, please, what your new book,
Remembering Tomorrow, is about? What is it trying to
communicate?
Remembering Tomorrow is not organized in a linear
historical flow, as are most memoirs. Instead,
Remembering Tomorrow's main sections and chapters feature
broad types of content such as the Sixties, activist
organizing since the Sixties, teaching and learning
experiences, building new media and activist
institutions, international experiences, money and the
left, portraits of people I've met and worked with, music
and culture and the left, personal life and the left, and
the ups and downs of creating and advocating vision and
strategy.
In the large, Remembering Tomorrow tries to communicate
the intimate characteristics of dissent, resistance, and
building new and better social relations. It explores
what happens in such projects, who is involved, people's
choices and beliefs, and our institutions and movements.
Remembering Tomorrow personally presents left logic,
motives, and feelings. Why did we act as we did - both in
the Sixties, and in the decades since? What do we feel
about what we have done and how we have done it? How do
others react? It isn't religious, but there is plenty of
revelation.
Remembering Tomorrow highlights organizing and features
consciousness raising. It focuses on activism and
demonstrations, on institution building, writing, and
speaking, but also on academia and teaching, book and
magazine publishing, internet and media activism, and
developing and evaluating ideas for movement building.
Organizations from SDS to the WSF and many in between are
prominent. Many individuals pass through the pages, some
notable and others not, some effective and others not.
Finances and fund raising make a substantial appearance,
as does left culture and community. Large scale moral,
emotional, social, and intellectual failings and
successes are explored. And Remembering Tomorrow is also
about personal daily life choices including friendships
and hostilities, the logic and impact of people's sexual
and career choices, and of movement interpersonal
relations. Remembering Tomorrow is about worries and it
is about hopes.
(2) Can you tell ZNet something about writing the book?
Where does the content come from? What went into making
the book what it is?
I have been author, co-author, or editor of nearly twenty
books, and publisher of over a hundred, but this was the
hardest to complete. Partly I was intimidated by the
material. I felt like I couldn't convey the reality and
lessons of the Sixties unless the prose matched the
topic, and trying to attain that was very difficult.
Dauntingly, once I got going, the same held for most
other parts of the book as well, for example the history
of South End Press or Z, or describing the process of the
development of the participatory economic vision. In
these cases too, not to mention personal experiences, I
wanted to convey the actual feelings and thoughts that
arose along the way, not just the final results.The
phrasing and nuance of the writing, and not just its
substance, had to fit the people, ideas, events, and
actions of the times. The tone had to excite readers and
also communicate both the texture and content of the
events explored. In short, not just the book's literary
logic, but also its styleistic pacing had to both
communicate and interrogate the ideas relayed. I was
intimidated by that stylistic need, especially regarding
the older period called the Sixties. It was also
hard to remember content from times past, and to
reject lots of stories that mattered to me but didn't
present material of more general value. You write a book
like this and for the duration you are dredging up and
assessing decades of not always pleasant events. That
made this project much harder than writing a more
analytic work.
Books on how to write memoirs tell prospective authors
that you must communicate as a novel does, with texture
and detail. They say, if you don't remember who wore what
at the event you are describing, the weather on the day
of the event, who said what to whom at the event, and so
on, well then you should just make it up. This may sound
incredible to you - it certainly did to me - but that is
the advice memoirists receive, and it's what memoirists
typically do, too. Books with advice about writing
memoirs also say, don't show a memoir to anyone until
after its publication. They say, put in your memoir
everything that is dramatic, leave out anything that
isn't, or, better, tweak it until it is. In other words,
books about writing memoirs have lots of crummy,
commercial, self serving, and anti-social advice which
memoirists generally live by. I naturally ignored all
that advice. I checked Remembering Tomorrow's stories
with those involved. I didn't make up anything. I
included what I thought had meaning and might resonate
usefully. I left out what didn't, however dramatic it may
have been. But, yes, I also tried to write Remembering
Tommorrow congenially, emotively, personally, and of
course accessibly. The book's content comes from the
period addressed, nearly half a century. What went into
making Remembering Tomorrow was that history, and
everyone involved in it, and a lot of heartfelt writing
and editing that utilized help from many readers - as is
the case with most books.
(3) What are your hopes for Remembering Tomorrow? What do
you hope it will contribute or achieve, politically?
Given the effort and aspirations you have for the book,
what will you deem to be a success? What would leave you
happy about the whole undertaking? What would leave you
wondering if it was worth all the time and effort?
Everything I write and do politically has one overarching
purpose, to contribute to efforts to revolutionize
society and history. So if the book contributes to
movement growth and to successful struggle I am happy
about it. If it doesn't contribute, then I am sad about
it.
I tried to make the accounts in Remembering Tomorrow
instructive about what is wrong with society, what we
might prefer as vision, and how we might attain our aims,
but I also tried to make the book's stories about people,
places, institutions, and acts not only true and
accurate, but also engaging, inspiring, tear-jerking,
provocative, instructive, and revealing. I hope the book
accomplishes all that sufficiently to make a difference
in how readers think about themselves, about their
actions and choices, and about their aims and methods.
More specifically, Remembering Tomorrow has three broad
audiences who I am most trying to address. First, there
are people of my generation who were once and who may or
may not still be involved with social change. I hope
Remembering Tomorrow reawakens or otherwise strengthens
their commitment for justice and their willingness to act
insightfully on it. There are, after all, millions of us.
Then there are young people in high schools, colleges,
and at work, who have recently become politically active,
including in the new SDS, for example. I hope Remembering
Tomorrow provides its young readers a useful look at past
experiences of the Sixties and of the decades since. I
hope Remembering Tomorrow helps them navigate the tricky
and crucial life choices they face, helping in particular
with the tasks of personal development, consciousness
raising, mapping their futures, and organizing. And then,
finally, there are people who who have been heretofore
uninvolved in the left but who are curious about leftists
and about left history,and who wonder who leftists are,
what we are about, what we do, what we feel and think,
and the whys and wherefores of it all. I hope Remembering
Tomorrow can give them some answers that will
simultaneously inspire and provoke them, perhaps
affecting their choices in coming years.
Judging one's work, whether writing, or organizing, or
even just living, is awfully hard. For example, you
travel a long way and give a talk, one time, and there
are ten people there, who listen quietly, ask few
questions, and leave. Another time, you travel similarly
and there are a thousand people who react with great
gusto, ask many questions, and seem quite excited. It is
tempting, almost unavoidable, to feel that the first
effort was a relative failure and the second a big
success. But what if one of those ten people had a life
altering experience and became the modern day equivalent
of Rosa Parks? And what it, on the other hand, the
thousand people, much as they enjoyed your talk and
applauded until their hands were raw, weren't altered by
it at all? They just heard something they liked, which,
however, added nothing to their lives. Now which talk was
the success?
I think it is like that with a book too. Do I want more
readers than less? Yes, of course, I do. Do I hope for
wide discussion and debate about the book's contents?
Naturally I do. Do I hope that this book will inspire
many people to additionally pick up more detailed works
on parecon? Yes, for sure. But is all that essential for
Remembering Tomorrow to prove itself worth the time
expended on it? No, probably not, but as to what would be
decisive in that regard, honestly, I wish I knew.
Regarding self assessment, I generally hope for the best
and just keep plugging. I imagine that will be my
reaction to whatever success or lack of success this book
has in the months ahead, too.
First Person: Amazon Customer Petition Wins Fairer
Treatment for Carter Book
By Henry Norr
http://www.berkeleydaily.org/text/article.cfm?issue=01-26-07&storyID=26187
Ten days after I began a campaign to protest
Amazons hostile presentation of former President
Jimmy Carters book on Palestine, and a day after
the petition with more than 16,000 signatures was
delivered to Amazon CEO Jeff Bezos, the company responded
by revamping the page in a way that puts the book in a
completely different light. The petition complained that
Amazon had abandoned its usual evenhandedness by posting
the full text of a lengthy attack on Carters
Palestine: Peace Not Apartheid in its "Editorial
Reviews" sectionand by repeatedly refusing
customer requests that it add a more positive review in
the same location for balance.
In signing the petition, customers pledged to stop
shopping at Amazon if the retailer did not come up with a
more balanced page by Jan. 22. A copy of the petition,
some 16,200 signatures, and supporting materials were
sent to Bezos and his staff on Friday. The following
morning, the "Editorial Reviews" section of the
page listing Carters book was overhauled: It now
begins with a glowing tribute from Amazon to the former
presidents achievements and an interview with him
about the book, plus a photo of him and graphic links to
some of his other booksall new material, and all of
it posted ahead of the negative review.
This is a huge victory. The whole tone of the page is
different now. Instead of saying, in effect, "Stay
away from this vile book," what it now conveys is
the truth: that this is an important and fair-minded,
even if controversial, book by a distinguished American
who has unique qualifications to address the issue of
Palestine.
Paul Larudee, an El Cerrito piano technician who helped
me organize the protest campaign, said, "Of course
Amazon deserves credit for responding after initially
refusing to make a change. However, the real credit goes
to the thousands of petition signers who exercised their
powerin this case the nonviolent power to take
their business elsewhere. It gives hope that boycotts and
other nonviolent efforts can help to end the larger
injustices that Carter addresses in his book."
Im sorry Amazon continues to display the review by
Jeffrey Goldberg because I think its horribly
unfair and misleading, and I still wish they would add
one of the other reviews we suggested. Some people who
signed the petition have let me know that they still
intend to close their accounts if Amazon doesnt
make more changes, and I understand their feelings. But
what the petition was really demanding was fair and
balanced treatment for the book, and on the whole I think
weve come
pretty close to that objective. From: Virginia Raines
<rainesco@inbox.com>
The Metaphysics of Capital
Nicholas Ruiz III
ISBN: 097899020X
Release date: intertheory press, November 1, 2006
available at amazon,
barnes and noble, etc.
Product Description
"A history of Capital, like a history of religion,
reflects little more than the current fashion in
historical time. A metaphysics of Capital, derived from
the preponderance of a capitalizing bare life, supports
the idea that Capital has no birth, but is eternally
complicit with life, the only variance being, the way in
which we define Capital. Capital, that is, the coining of
the term--is not synonymous with its inception, or more
saliently, there is no immaculate conception of Capital.
Like the genetic Code, our identification of it did not
make it so; make it exist, as it were. Evidently, unlike
God, the Code preceded our conception of it. Ironically,
like God, the Code must capitalize upon an environment in
order to survive. In other words, Capital is a currency
of the Code"
About the Author
Nicholas Ruiz III was born in New York City. He teaches
bioethics, ethics and critical thought in the department
of Humanities at Kaplan University. He is also the editor
of Kritikos, http://intertheory.org
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