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.
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.
disgust, disembody, discourage, disgrace, dislike, discourse, disintegrate, dissolve A. Andreas 19
rhizome.org raw list - US,
blackletter.ie - Ireland,
seecult.org - Serbia
Disengage, disgust, disembody, discourage, disgrace, dislike, discourse, disintegrate, dissolve
A. Andreas 19 Dekemember 2007