Contrary to
creative resistance, creative insurgency, aims to overthrown and re-establish a new kind of creative order, in
which the might and prowess of the
mainstream art world is definitively
pushed aside to make place for a more profound and human based faculty of sharing and re-distributing
objects of art and devotion.
Creative
insurgency re-claims artŐs own, autonomous right to resist and subvert societyŐs (mis) use of its
idiomatic resources. Claims currently
made by designers, merchants, industrialists and the like.
One of the key
debates among art officials, (inter)national cultural experts and scholars concerns changes underway in the nature
of insurgency. "Classic"
insurgencies sought to seize power and evolved from underground and guerrilla forces. Contemporary
insurgencies are characterized by
linkage to broader systemic conflicts or failures normally involving networks as well as insurgents; by their
use of the Internet and other
forms of information technology; by the need to generate their own financial resources rather than
relying on external sponsors; and
by the desire to create political "space" in which to operate rather than the
seizure of cultural power.
Cultural forces are still struggling to
understand contemporary insurgencies
and find ways to counter them. This is a common pattern since insurgencies often take the form
of "learning contests" between
insurgents and counterinsurgents.
Purposely taken
the army as a metonym for the strategic and longtem vision on how to achieve a given goal .i.e. to maintain or
to surplant a wanted regime, by
the use of power, creative insurgency
uses in parallel the same theoretical foundations to achieve their goals. i,e. the liberation of art from
capital.
Again using the
same army analogy, creative insurgency uses
massive global propaganda means to find sufficient mass for its accomplishes. The widespread use of
Internet, mailing lists, do it yourself
activities arise worldwide producing a critical body of strongly motivated artists.
Modern life
appears as a drowning man filming itself in its dead struggle, the sight of
a drowning man filming his own drowning in a world which as a whole is drowning is extremely absurd,
there are no spectators to watch left. It is as if
the act of filming replaces life itself . The residual of life is more life
than life itself . This scenery is
really a last station, the complete artistically epigraphical
swan song of mankind, filmed on a cell-phone by a drowning man.
The act of
seeing (active) gradually changing in the act of looking (passive) is exactly what modern global
capitalism is doing with human
mankind.. By replacing the means to create a life (rurality, agriculture, self protecting, autartic
societies) with the means to earn
a life( industries, labour, rent, mortgage, salary, funeral insurance) the accent slowly drifts
from the active sense to the passive
sense. Exemplified by the way internet developed from a research
instrument to an entertainment device. In this process which lasted a surprisenly short tem of about
ten years, the presence of the web
turned from a small interesting peer to peer group to a huge beast of milleniary proportions. The
monster as the natural compagnon of
a gigantic destroyer. The spiderŐs web is an-eying the world , the eye lost its vision and is multiplied
inwardly on a enormous scale , blinded
by its own image like the drowning men filming its own drowning in a drowning world.
We are being
reduced to garbage, we are the waste of existence, we are the remnants of life zombificated by capitalistic power
systems, which more and more
getting their feet into cultural practices. We are the real living dead who ... are in all possible ways
trying to die. And on our way feverelishy taken everyone with us.
Every drop of life is vampirized
by these machinery.
Media labs
everywhere , digital culture studies at every university , call for art works , call for
proposals, call for papers, call for
citizen participations, all under the guiding eyes and financial protection of govermental and
institutional supervision. Our eyes are
subvisions , sub eyes, subordinated tentacles of the big tactic monster disguised under number of names
as freemarket, nato, unesco, vn,
gatt , g8, democracy, peoples republic, republic. Selling and marketing ideologies, goods, idead,
opinions, academic curiiculli partaking
in a rat race to compete , produce new, newer, hot hotter and even more sexier, erotic ways to
seduce the few reluctant outsiders,
to lost themselves in an overwhelming orgastic act of suicidal auto eroticism . Our senses a mere reciprocal
facility of cooperative powers,
disguised as democratic principles. Our bodies submerged in even more and more artificial pseudo-avataric
states as Second Life, Sexual aid
machineries penetrating our orifices with a 50 days guarantee.
Disengage,
disgust, disembody, discourage, disgrace, dislike, discourse, disintegrate, dissolve A. Andreas 19
Dekemember 2007Publication history:
rhizome.org raw list - US,
blackletter.ie - Ireland,
seecult.org - Serbia
Kreativni bunt kao oponent etabliranoj kulturnoj dominaciji , Serbian translation by Manik