What a long chain of failures Occupy has been over the past seven months. Think about it: It didn’t shut down Wall Street on September 17th; it couldn’t set up camp in its first-choice location, Chase Manhattan Plaza; it barely marched a third of the way across the Brooklyn Bridge roadway before getting kettled; the Oakland General Strike did not exactly generalize; and occupations have been driven from plazas, squares, vacant buildings, and sidewalks across America. Again and again, plans of action have not materialized as projected.
But maybe these failures are okay?
I was arrested on the Brooklyn Bridge while reporting on the day’s events for the New York Times. When I stood in plasticuffs with other arrestees, flanking the bridge’s Brooklyn-bound roadway awaiting our carriage in police buses, it was cold and rainy; the bridge and its iconic view have never looked so exhilarating and beautiful to me. As far as failing to cross a bridge goes, this was pretty spectacular.
See also: Occupy Did What?
From Open Congress:
[CISPA] would allow web companies to share virtually any information about their users with the government, without a court order. No prior privacy laws would apply.
Even if this is already on the veto chopping block, look forward to attack ads framing Democrats as “anti-cybersecurity.”
I’ve been too distracted by other things to write much about the New Aesthetic, which started as a a blog post, then expanded into a Tumblr blog, then a SXSW panel (which I saw, and enjoyed very much). Now it’s become a kind of meme, I see equal parts “what is this thing” and “how do we talk about this?” And some jokey dismissals.
The Twenty-first century is invisible. We were promised jetpacks but ended up with handlebar moustaches. The surface of things is the wrong place to find the 21st century. Instead, the unseen, the Infrathin—those tiny devices in our pockets or the thick data-haze which permeates the air we breathe — locates us in the present. And in this way, The New Aesthetic is not so much a movement as it is a marker, a moment of observation which informs us that culture—along with its means of production and reception —has radically shifted beneath our feet while we were looking the other way.
He compares the New Aesthetic to New Writing (something I’m not familiar with), and points out that newer approaches in poetry are still ultimately relying on tree pulp for their final presentation:
Beginning with Mallarmé and ending with Language Poetry, the emergence of digital culture signified a break with modernism, replacing deconstructive tendencies with strategies informed by the workings of computers and the web: word processing, databasing, recycling, appropriation, intentional plagiarism, identity ciphering, and intensive programming, but to name a few. Yet the odd thing is that these practices, born of digital immersion, have not shown up exclusively on the screen, but more often have manifested themselves on the printed page.
Goldsmith’s essay reminded me of a counter-example, not meant to contradict what he’s saying, but maybe a model for a New Aesthetic approach to poetry. It’s a project called The Archanoids by Mathew Timmons, that collectively vocalizes sound poetry through online video and voice telephony.
There are still a few items in my Instapaper queue I want to finish before writing more substantially on the New Aesthetic, but if you haven’t read this Bruce Sterling essay on the topic, you should!
I’d like to point out two New Yorker Fiction podcast episodes read by Colum McCann.
- “Transatlantic”, a story by McCann about the first non-stop transatlantic flight from Newfoundland to Ireland. It’s interesting how much less familiar I was with this earlier instance than Lindbergh’s first solo flight across the Atlantic.
- “Bluebell Meadow” by Benedict Kiely, about a romance between a Catholic and Protestant in Northern Ireland. There’s something very real about how this story conveys young love, remembered later.
Also, here’s a Q&A with McCann in text form instead of the usual interview before and after the reading.
From a blog post by David Simon on how the news media is focusing too much on Trayvon vs. Zimmerman, in terms of character, and missing the larger story about what Stand your ground legislation really means:
And now, quietly, by dint of both cash infusions from the gun lobby to legislators and scant attention from a hollowed-out press corps, this cautious standard is gone in twenty states. Now, anyone—regardless of their role, training or ultimate purpose—can bring a gun to an argument and take a life. And then, if they can manufacture enough of a threat to their person, they can justify the act. Maybe witnesses will be present to contradict their version of events; maybe not. Maybe there will be physical evidence to invalidate their claims; maybe not. But now, the baseline for responsibility lies not with the shooter, but with the state.
Guns don’t kill people, people do—this is the mantra that for generations has defined the prevailing ethos of the firearms lobby. But now, the argument has moved on: Guns don’t kill and neither do people; now, folks are just killed. Shit happens is the new credo for this quiet, epic revolution in our country–one that has already led to many more homicides that defy prosecution in the affected states.
Julian Assange kicked off his television show on Russia Today interviewing Hezbollah leader Hassan Nasrallah. The Guardian doesn’t pull any punches:
There is a long dishonourable tradition of western intellectuals who have been duped by Moscow. The list includes Bernard Shaw, the Webbs, HG Wells and André Gide. So Assange—whether for idealistic reasons, or simply out of necessity, given his legal bills and fight against extradition to Sweden—isn’t the first. But The World Tomorrow confirms he is no fearless revolutionary. Instead he is a useful idiot.
“Design is communication; communication is political.”
I’ll be performing with Future Archaeology on Sunday night. We’ll be showing the third iteration of our Ohm Ω project (previously at Splatterpool and Index Festival). Tom will also be performing Action Film, which you really should see if you haven’t before.
Sunday April 22nd, 1pm to midnight
ANARKO ART LAB
(occupy) REVOLUTION here and now
4th Annual New York City Anarchist Art Festival in conjunction with the Anarchist Book Fair. Future Archaeology is scheduled to perform at 10pm, but come at 9:30pm to see Thomas Dexter!