Human Terrain System
Inge Baxmann (ed.), Timon Beyes (ed.), Claus Pias (ed.)
Social Media—New Masses
The (Micro)Politics of Social Choreography
Irina Kaldrack, Theo Röhle
Creating Subsets of the Masses
"Trying to compete in the economy of attention from the field of contemporary art is a naive goal in the twenty-first century."
J.G. Ballard’s self-declared ‘Immodest Proposal’ for a global war-alliance to exact the destruction of America demonstrates the provocatory zeal of his last fiction plans, as well as their enduring prescience.
Is there something more effective for conducting the behaviour of people than today’s consumption and communication techniques?
In contemporary capitalism, subjectivity is the product of a mass industry organized on a global level. For Félix Guattari this is actually the first and most important of capitalist productions, because it preconditions and is part of production in all other forms of merchandise. Subjectivity is a ‘key merchandise,’ which in its ‘nature’ is put together, developed and manufactured in the same way as a car, electricity, or a washing machine. Capitalism organizes the production and control of subjectivity through two different systems, which weave together the manufacture of the individuated subject (“social subjection”) and what seems to be the opposite, de-subjectification (“machinic enslavement”). Therefore capitalism exercises a twofold hold over subjectivity.
Social subjection involves techniques of government, which pass by way of, and mobilize, representation (political and linguistic), areas of knowledge, discursive visual practices, etc., and produce ‘subjects of rights,’ ‘political subjects,’ in short: ‘subjects’ of ‘I’s,’ of individuals. By...
Each work can create its own universe through sensitivity to nuance and intellectual attentiveness to the exact shade and materiality of color, or to the multifarious differentiations between sequences of notes, lines, space, and rhythm. The perseverance of this practice is comparable to that of scientific exploration.
Art gains (meta-)political meaning not least by revealing the positing acts, along with their rhetorics, at the foundations of our political worldviews. In doing so, it points toward the potentially endless struggle over the conditions under which a communication free of domination would be possible.
The debate on realism has always closely tied the notion of artistic progressiveness to the question of how artistic production relates to its social and cultural outside. To isolate considerations of formal creation from art’s reference to that outside is to bid farewell to the project of realism. For unlike such formalism, realism is by definition impure. It is always already open to an ethical, political, and epistemic demand: realism – as a stance, a project, a production – requires fidelity; fidelity, that is, to a reality that needs to be done justice in ethical, political, and epistemic terms. Realism attests to reality; it does not engender it. This implies that those who commit themselves to the realist project, and hence to fidelity to reality, must be the contemporaries of this reality. On the other hand, the realist project amounts to more than a positivist or automatic registration of something already given....