Abstract The article discusses the political actions of Cuban artist group 27N, including a conversation with some of its members and one of its manifestoes.
摘要本文讨论了古巴艺术家团体27N的政治行动，包括与一些成员的对话和其宣言之一。
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{"title":"Art Communities at Risk: An Introduction","authors":"","doi":"10.1162/octo_a_00442","DOIUrl":"https://doi.org/10.1162/octo_a_00442","url":null,"abstract":"","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"121-121"},"PeriodicalIF":0.3,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43059080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract “Art Communities At Risk: Slovenia” talks about how it is somehow easier to take a moral than a political position in times of crisis today—and how political manipulations often hide under seemingly moral attitudes. The author analyzes these issues against the background of growing authoritarian forces in Central and Eastern Europe, especially Slovenia, which saw the rise of covid-19 and Janez Janša as prime minister at the same time. Janša's government systematically ignores professional competencies in cultural institutions as well as in science, especially in relation to the epidemic.The voice of experts in the field of culture is ignored, and this is precisely because their specialized knowledge is not neutral. In a time when the space for free speech is shrinking, the need for a clear positioning becomes even more pressing. The author discusses the exhibition Bigger than Myself / Heroic Voices from Ex-Yugoslavia, which she curated for Rome's MAXXI museum last summer. The work shown there addressed Yugoslav emancipatory histories in relation to the issues of particular urgency today: global capitalism, the posthuman condition, and the return of authoritarianism, in particular. The Slovenian authorities took a hostile attitude towards the exhibition, not only because it presented critical voices from the region but also because artists from the former Yugoslavia were presented there, who, according to Slovenian right-wingers, are no longer worthy of participating in national cultural projects. Concerning the example of what is happening in Slovenia today, the essay asks why there has been such a strong turn to the right in Central and Eastern Europe, which is reviving “traditional” morality, patriarchy, and nationalism and engaging in political interference in cultural institutions. The current governments of Slovenia and other countries in the region want to get rid of the critical voices of left-wing experts in culture by favoring ostensibly neutral experts. It removes from important positions all those it considers to be leftists and replaces them with its own people in order to seemingly strike a balance between the various political options. This balancing act and new “neutrality,” however, are just one of the modern disguises of acute authoritarianism in Eastern Europe.
{"title":"Art Communities at Risk: On Slovenia","authors":"Zdenka Badovinac","doi":"10.1162/octo_a_00443","DOIUrl":"https://doi.org/10.1162/octo_a_00443","url":null,"abstract":"Abstract “Art Communities At Risk: Slovenia” talks about how it is somehow easier to take a moral than a political position in times of crisis today—and how political manipulations often hide under seemingly moral attitudes. The author analyzes these issues against the background of growing authoritarian forces in Central and Eastern Europe, especially Slovenia, which saw the rise of covid-19 and Janez Janša as prime minister at the same time. Janša's government systematically ignores professional competencies in cultural institutions as well as in science, especially in relation to the epidemic.The voice of experts in the field of culture is ignored, and this is precisely because their specialized knowledge is not neutral. In a time when the space for free speech is shrinking, the need for a clear positioning becomes even more pressing. The author discusses the exhibition Bigger than Myself / Heroic Voices from Ex-Yugoslavia, which she curated for Rome's MAXXI museum last summer. The work shown there addressed Yugoslav emancipatory histories in relation to the issues of particular urgency today: global capitalism, the posthuman condition, and the return of authoritarianism, in particular. The Slovenian authorities took a hostile attitude towards the exhibition, not only because it presented critical voices from the region but also because artists from the former Yugoslavia were presented there, who, according to Slovenian right-wingers, are no longer worthy of participating in national cultural projects. Concerning the example of what is happening in Slovenia today, the essay asks why there has been such a strong turn to the right in Central and Eastern Europe, which is reviving “traditional” morality, patriarchy, and nationalism and engaging in political interference in cultural institutions. The current governments of Slovenia and other countries in the region want to get rid of the critical voices of left-wing experts in culture by favoring ostensibly neutral experts. It removes from important positions all those it considers to be leftists and replaces them with its own people in order to seemingly strike a balance between the various political options. This balancing act and new “neutrality,” however, are just one of the modern disguises of acute authoritarianism in Eastern Europe.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"122-134"},"PeriodicalIF":0.3,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45155777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article collects four texts written by German feminist-materialist art historian Lu Märten (1879–1970): “Artistic Aspects of Labor in Old and New Times” Published in 1903 in the social-democratic journal Die Zeit at a time when Märten dedicated the majority of her writings on form to feminist perspectives on housing and reproduction. It is her first systematic essay on what will become a central concern of her own “life-work,” namely, the question of how to break open the capitalized division between “productive labor” and what Märten calls “social-personal” work. Märten thus sketches an understanding of labor outside of its capitalist determinations and notions of progressive temporality. Essence and Transformation of Forms (Arts) This text appeared in 1924 in the journal Arbeiterliteratur. Its immediate objective was to explain the aim of her similarly titled book to a proletarian audience. In this short summary, Märten emphasizes the importance of ethnography for her project. Rather than isolating forms from their social surroundings, as was traditional in art history, the practice of viewing forms ethnographically allows their origins to be seen in a broader framework of social-collective materialities and vital needs. Märten argues that this shift in perspective could be an aid de-fetishizing workerss relationships with the object world. “Art and Proletariat” This was first published in 1925 in Franz Pfemfert's Die Aktion and later that year reprinted in Czech translation in Pásmo, a magazine run by the revolutionary artist collective Devětsil. The article argues that the notion of “proletarian art” is politically and systematically pointless given that “art” is merely the historically specific, impoverished manifestation of form under the conditions of industrial capitalism. In place of art, Märten draws on the notion of “classless form” in order to imagine a monist state of form beyond the divisions of class, gender, and species. “Workers and Film” Written in 1928, this text was not printed during Märten's lifetime, instead serving as a script for a radio broadcast, as was the case for most of her published and unpublished texts on film. Almost a decade before Walter Benjamin's Artwork essay (1936), Märten's “Workers and Film,” along with numerous other articles and radio broadcasts, addressed strikingly similar questions, yet under profoundly different premises. In Märten's synthetic understanding of a monist material culture of people and things, film promised to actualize a technologically mediated monism for the industrial age.
摘要本文收集了德国女权主义唯物主义艺术史学家Lu Märten（1879–1970）撰写的四篇文章：《新旧时代劳动的艺术方面》，1903年发表在社会民主杂志《时代周报》上，当时Mäarten将其大部分形式作品都致力于女性主义对住房和再生产的观点。这是她第一篇系统的文章，论述了什么将成为她自己“生活工作”的核心问题，即如何打破“生产性劳动”和Märten所说的“社会-个人”工作之间的资本化分工。因此，Märten描绘了对资本主义决定和进步时间性概念之外的劳动的理解。形式的本质和转变（艺术）这篇文章于1924年发表在《艺术》杂志上。它的直接目的是向无产阶级听众解释她同名书的目的。在这个简短的总结中，Märten强调了民族志对她的项目的重要性。不像艺术史上的传统做法那样，将形式与社会环境隔离开来，而是以民族志的方式看待形式，使人们能够在更广泛的社会集体物质和重要需求的框架中看待它们的起源。Märten认为，这种视角的转变可能有助于消除对工人与对象世界关系的恋物癖。“艺术与无产阶级”这本书于1925年首次发表在Franz Pfemfert的《死亡》杂志上，同年晚些时候在革命艺术家集体DevŞtsil经营的杂志《Pásmo》上以捷克语翻译重印。文章认为，“无产阶级艺术”的概念在政治上和系统上都是毫无意义的，因为“艺术”只是工业资本主义条件下历史上特定的、贫乏的形式表现。代替艺术，Märten借鉴了“无阶级形式”的概念，以想象一种超越阶级、性别和物种划分的一元论形式状态。《工人与电影》（Workers and Film）写于1928年，这篇文章在Märten的一生中没有印刷，而是作为广播的剧本，就像她出版和未出版的大多数电影文本一样。在沃尔特·本杰明（Walter Benjamin）的艺术作品文章（1936年）发表近十年前，Märten的《工人与电影》（Workers and Film），以及许多其他文章和广播节目，解决了惊人的相似问题，但前提截然不同。在Märten对人和物的一元论物质文化的综合理解中，电影承诺在工业时代实现技术中介的一元论。
{"title":"Lu Märten: Four Texts∗","authors":"Lu Märten","doi":"10.1162/octo_a_00437","DOIUrl":"https://doi.org/10.1162/octo_a_00437","url":null,"abstract":"Abstract This article collects four texts written by German feminist-materialist art historian Lu Märten (1879–1970): “Artistic Aspects of Labor in Old and New Times” Published in 1903 in the social-democratic journal Die Zeit at a time when Märten dedicated the majority of her writings on form to feminist perspectives on housing and reproduction. It is her first systematic essay on what will become a central concern of her own “life-work,” namely, the question of how to break open the capitalized division between “productive labor” and what Märten calls “social-personal” work. Märten thus sketches an understanding of labor outside of its capitalist determinations and notions of progressive temporality. Essence and Transformation of Forms (Arts) This text appeared in 1924 in the journal Arbeiterliteratur. Its immediate objective was to explain the aim of her similarly titled book to a proletarian audience. In this short summary, Märten emphasizes the importance of ethnography for her project. Rather than isolating forms from their social surroundings, as was traditional in art history, the practice of viewing forms ethnographically allows their origins to be seen in a broader framework of social-collective materialities and vital needs. Märten argues that this shift in perspective could be an aid de-fetishizing workerss relationships with the object world. “Art and Proletariat” This was first published in 1925 in Franz Pfemfert's Die Aktion and later that year reprinted in Czech translation in Pásmo, a magazine run by the revolutionary artist collective Devětsil. The article argues that the notion of “proletarian art” is politically and systematically pointless given that “art” is merely the historically specific, impoverished manifestation of form under the conditions of industrial capitalism. In place of art, Märten draws on the notion of “classless form” in order to imagine a monist state of form beyond the divisions of class, gender, and species. “Workers and Film” Written in 1928, this text was not printed during Märten's lifetime, instead serving as a script for a radio broadcast, as was the case for most of her published and unpublished texts on film. Almost a decade before Walter Benjamin's Artwork essay (1936), Märten's “Workers and Film,” along with numerous other articles and radio broadcasts, addressed strikingly similar questions, yet under profoundly different premises. In Märten's synthetic understanding of a monist material culture of people and things, film promised to actualize a technologically mediated monism for the industrial age.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"15-34"},"PeriodicalIF":0.3,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47589267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract “Cinema at a Standstill” examines the theory and practice of film within the Situationist International, circa 1968. Questioning Guy Debord's refusal to document the group's participation in the abortive revolution of May-June ‘68, the essay explores the Situationists' ambivalence to the image as mnemonic device. Their refusal of film's iconicity did not, however, mean a complete refusal of its logic: The austere, text-based posters produced by the SI during the uprising are here read as a species of revolutionary intertitle for a film running in real time along the streets. Sharing the aniconic quality found at the same moment in the work of Daniel Buren and Jean-Luc Godard, this Situationist imageless cinema is read through the dialectic of repetition and stoppage first developed by Giorgio Agamben.
{"title":"Cinema at a Standstill∗","authors":"Tom McDonough","doi":"10.1162/octo_a_00433","DOIUrl":"https://doi.org/10.1162/octo_a_00433","url":null,"abstract":"Abstract “Cinema at a Standstill” examines the theory and practice of film within the Situationist International, circa 1968. Questioning Guy Debord's refusal to document the group's participation in the abortive revolution of May-June ‘68, the essay explores the Situationists' ambivalence to the image as mnemonic device. Their refusal of film's iconicity did not, however, mean a complete refusal of its logic: The austere, text-based posters produced by the SI during the uprising are here read as a species of revolutionary intertitle for a film running in real time along the streets. Sharing the aniconic quality found at the same moment in the work of Daniel Buren and Jean-Luc Godard, this Situationist imageless cinema is read through the dialectic of repetition and stoppage first developed by Giorgio Agamben.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"79-95"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45676628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this essay, I review a 2019 exhibition at the Palais de Tokyo entitled When Saying Is Doing, which featured work by Angelica Mesiti, a contemporary Australian artist who works on questions of performance, immigration, and non-verbal communication in multi-screen moving image installations. On the contemporary global stage, if we do not share the same linguistic community or communities, how is human interrelatedness expressed through other forms of ordinary language, where “language” is now considered not as speech but rather as human expressiveness in its most diverse and complex manifestations? What happens when shared language is neither “speech” nor conversation in the linguistic sense? Needed here is a newly imagined vision of the communicability of human community that I refer to as “neighboring.” Putting Mesiti's work in productive dialogue with Stanley Cavell and other critics, I examine how skeptical problems of isolation, privacy, and unknownness are potentially addressed and responded to in contemporary art.
{"title":"Angelica Mesiti's World Citizens∗","authors":"D. Rodowi̇ck","doi":"10.1162/octo_a_00434","DOIUrl":"https://doi.org/10.1162/octo_a_00434","url":null,"abstract":"Abstract In this essay, I review a 2019 exhibition at the Palais de Tokyo entitled When Saying Is Doing, which featured work by Angelica Mesiti, a contemporary Australian artist who works on questions of performance, immigration, and non-verbal communication in multi-screen moving image installations. On the contemporary global stage, if we do not share the same linguistic community or communities, how is human interrelatedness expressed through other forms of ordinary language, where “language” is now considered not as speech but rather as human expressiveness in its most diverse and complex manifestations? What happens when shared language is neither “speech” nor conversation in the linguistic sense? Needed here is a newly imagined vision of the communicability of human community that I refer to as “neighboring.” Putting Mesiti's work in productive dialogue with Stanley Cavell and other critics, I examine how skeptical problems of isolation, privacy, and unknownness are potentially addressed and responded to in contemporary art.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"96-113"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43626947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this conversation prompted by the publication of Julian Stallabrass's Killing for Show: Photography, War and the Media in Vietnam and Iraq (Rowman & Littlefield, 2021), Stallabrass and Mignon Nixon discuss the roles played by photography in two wars that, Stallabrass contends, were simultaneously staged for, and concealed from, the camera. The discussion encompasses diverse modes of war photography, from photojournalism and official military photography to amateur and trophy images, aftermath photographs, and found images used by contemporary artists. It dwells on questions of memory, systemic cruelty, trauma, and melancholy, and on shifts in technology, media, and social relations that have altered the dynamics of killing for show over time, without eliminating the imperative.
{"title":"“Killing for Show”: A Conversation with Julian Stallabrass","authors":"M. Nixon","doi":"10.1162/octo_a_00430","DOIUrl":"https://doi.org/10.1162/octo_a_00430","url":null,"abstract":"Abstract In this conversation prompted by the publication of Julian Stallabrass's Killing for Show: Photography, War and the Media in Vietnam and Iraq (Rowman & Littlefield, 2021), Stallabrass and Mignon Nixon discuss the roles played by photography in two wars that, Stallabrass contends, were simultaneously staged for, and concealed from, the camera. The discussion encompasses diverse modes of war photography, from photojournalism and official military photography to amateur and trophy images, aftermath photographs, and found images used by contemporary artists. It dwells on questions of memory, systemic cruelty, trauma, and melancholy, and on shifts in technology, media, and social relations that have altered the dynamics of killing for show over time, without eliminating the imperative.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"3-23"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44545578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Erika Magnusson and Daniel Andersson's Logistics (2012) is the longest film ever made, at over thirty-five days in duration. The film endeavors to make the world-spanning network of global logistics perceptible through an experience of the slow journey of the Dutch container-ship Elly Maersk from Gothenburg, Sweden, to Shenzhen, China. Following this document of an oceanic passage that coincided with—and was at one point halted by—the events of the Arab Spring, this article explores how extreme durational cinema raises questions about the position of the spectator and the limits of representation in an era of digitally networked media. It suggests that there exists, beyond the immediate relationship between spectator and image, a correspondence between the magnitude of filmic address and the logistical conditions of art's creation.
{"title":"Nonhuman Cinema and the Logistical Sublime∗","authors":"Kyle Stine","doi":"10.1162/octo_a_00435","DOIUrl":"https://doi.org/10.1162/octo_a_00435","url":null,"abstract":"Abstract Erika Magnusson and Daniel Andersson's Logistics (2012) is the longest film ever made, at over thirty-five days in duration. The film endeavors to make the world-spanning network of global logistics perceptible through an experience of the slow journey of the Dutch container-ship Elly Maersk from Gothenburg, Sweden, to Shenzhen, China. Following this document of an oceanic passage that coincided with—and was at one point halted by—the events of the Arab Spring, this article explores how extreme durational cinema raises questions about the position of the spectator and the limits of representation in an era of digitally networked media. It suggests that there exists, beyond the immediate relationship between spectator and image, a correspondence between the magnitude of filmic address and the logistical conditions of art's creation.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"114-144"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42094141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In 1961, George Maciunas first met the artists and composers whom he would organize into the neo-avant-garde movement known as Fluxus. That same year, he acquired a persistent cough that was later diagnosed as asthma. Drawing from disability-studies scholars including Alison Kafer, Rosemarie Garland-Thomson, Jasbir K. Puar, and Ellen Samuels, “Prescribed Performances” considers the historical dimensions of this coincidence. Maciunas belonged to a new class of medical subject, the patient of chronic illness who depended on postwar medical innovations (such as steroids) and integrated a regime of self-management into their everyday life. To chart where and how the subject presented in neo-avant-garde performance intersected with the one produced by an emerging biopolitical apparatus for regulating public health, this article turns to the first Fluxus concerts, held in Europe in 1962–63, and then moves forward into the 1970s, asking how event scores, multiples, happenings, and body art were all inflected by their authors' experiences of debility, gender, sexuality, race, nationality, and precarity. Maciunas's Solo for Sick Man (1962), FluxClinic (1966), One Year (1973–74), Hospital Event (1975–76), and Flux Wedding (1978) will be discussed in relation to works by George Brecht, John Cage, Hi Red Center, Allan Kaprow, Alison Knowles, Shigeko Kubota, Charlotte Moorman, Nam June Paik, and La Monte Young.
1961年，乔治·马丘纳斯(George Maciunas)第一次见到了被他组织为新前卫运动的激浪派的艺术家和作曲家。同年，他持续咳嗽，后来被诊断为哮喘。《规定的表演》借鉴了包括艾莉森·卡弗、罗斯玛丽·加兰德-汤姆森、贾斯比尔·k·普尔和艾伦·塞缪尔斯在内的残疾研究学者的观点，考虑了这种巧合的历史维度。麦丘纳斯属于一类新的医学主体，他们是依赖战后医学创新(如类固醇)并将自我管理纳入日常生活的慢性病患者。为了描绘新前卫表演中所呈现的主题与新兴的调节公共卫生的生物政治机构所产生的主题在哪里以及如何交叉，本文转向1962-63年在欧洲举行的第一场激流派音乐会，然后进入20世纪70年代，询问事件得分、倍数、事件和身体艺术是如何被其作者的衰弱、性别、性、种族、国籍和不稳定的经历所影响的。马丘纳斯的《病人独奏》(1962)、《FluxClinic》(1966)、《一年》(1973-74)、《医院事件》(1975-76)和《Flux Wedding》(1978)将与乔治·布莱希特、约翰·凯奇、Hi Red Center、艾伦·卡普罗、艾莉森·诺尔斯、久保田重子、夏洛特·摩尔曼、白南琼和拉·蒙特·杨的作品进行讨论。
{"title":"Prescribed Performances: Fluxus and Disability","authors":"Colby Chamberlain","doi":"10.1162/octo_a_00431","DOIUrl":"https://doi.org/10.1162/octo_a_00431","url":null,"abstract":"Abstract In 1961, George Maciunas first met the artists and composers whom he would organize into the neo-avant-garde movement known as Fluxus. That same year, he acquired a persistent cough that was later diagnosed as asthma. Drawing from disability-studies scholars including Alison Kafer, Rosemarie Garland-Thomson, Jasbir K. Puar, and Ellen Samuels, “Prescribed Performances” considers the historical dimensions of this coincidence. Maciunas belonged to a new class of medical subject, the patient of chronic illness who depended on postwar medical innovations (such as steroids) and integrated a regime of self-management into their everyday life. To chart where and how the subject presented in neo-avant-garde performance intersected with the one produced by an emerging biopolitical apparatus for regulating public health, this article turns to the first Fluxus concerts, held in Europe in 1962–63, and then moves forward into the 1970s, asking how event scores, multiples, happenings, and body art were all inflected by their authors' experiences of debility, gender, sexuality, race, nationality, and precarity. Maciunas's Solo for Sick Man (1962), FluxClinic (1966), One Year (1973–74), Hospital Event (1975–76), and Flux Wedding (1978) will be discussed in relation to works by George Brecht, John Cage, Hi Red Center, Allan Kaprow, Alison Knowles, Shigeko Kubota, Charlotte Moorman, Nam June Paik, and La Monte Young.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"24-51"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47317468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article recovers Resource One, an “alternative” computer-resource center founded in San Francisco in 1971 and celebrated by Whole Earth Catalog–founder Stewart Brand as a “counter-computer” initiative in his 1972 Rolling Stone article “Spacewar: Fanatic Life and Symbolic Death Among the Computer Bums.” Departing from the usual mythologizing of personal computing often linked to Brand's rhetoric of “access to tools,” this reading re-situates Resource One in the urban commune where it was located, Project One. Optic Nerve's video documentary about the communards' life there, Project One (1972), serves as both archive and interpretation of the commune, helping to demonstrate the economic and political utility of the ambivalence harbored within the notion of participation and the ethos of do-it-yourself. The essay ties the logic of participation to the emergence of a new topology of material and informatic domains as well as to novel configurations of home and work. It does so to trace forms of subjectivity that were then being forged through computerization in the service of a postindustrial economy.
{"title":"A Straighter Kind of Hip∗","authors":"Felicity D. Scott","doi":"10.1162/octo_a_00432","DOIUrl":"https://doi.org/10.1162/octo_a_00432","url":null,"abstract":"Abstract This article recovers Resource One, an “alternative” computer-resource center founded in San Francisco in 1971 and celebrated by Whole Earth Catalog–founder Stewart Brand as a “counter-computer” initiative in his 1972 Rolling Stone article “Spacewar: Fanatic Life and Symbolic Death Among the Computer Bums.” Departing from the usual mythologizing of personal computing often linked to Brand's rhetoric of “access to tools,” this reading re-situates Resource One in the urban commune where it was located, Project One. Optic Nerve's video documentary about the communards' life there, Project One (1972), serves as both archive and interpretation of the commune, helping to demonstrate the economic and political utility of the ambivalence harbored within the notion of participation and the ethos of do-it-yourself. The essay ties the logic of participation to the emergence of a new topology of material and informatic domains as well as to novel configurations of home and work. It does so to trace forms of subjectivity that were then being forged through computerization in the service of a postindustrial economy.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"52-78"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48527614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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