Vía Sarah Kantrowitz
Vía Sarah Kantrowitz
Vía Kosuke Osawa
Imagen de la internet.
We are often told that privacy is disappearing, that the most intimate secrets are open to public probing. But the reality is the opposite: what is effectively disappearing is public space, with its attendant dignity.
Slavoj Zizek (vía VICTOR TSU)
Cuentas del día de una miscelánea en la Ciudad de México.
Sealand is a micronation about six miles off the coast of England in North Sea. It’s a metal platform about the size of a football field, sitting atop two concrete pillars.
The platform was once a military fortress, built in 1943 to defend the United Kingdom against German aircrafts. It didn’t become a micronation until the birth of rock n’ roll.
In the 1960s, the British government wasn’t giving out enough broadcasting licenses to meet the demand for all the rock music that their youth was suddenly demanding. A bunch of DJs decided began setting up pirate radio stations on ships and abandoned British forts in the North Sea. From there they would broadcast rock music back to mainland England.
One such pirate radio DJ was Roy Bates. The British government kept hitting Bates with huge fines. So in 1967, Bates developed a bigger plan for his platform than a radio station: Roy Bates wanted to start his own country.
Roy thought this platform was uniquely suited for independence. It was six miles off the coast of England, and at the time, England’s territorial waters only reached three miles off shore. The law has since been changed and now England’s territorial boundaries extend twelve miles offshore.
Making different times equal is in fact the condition for a public space, that is to say a space affirming anybody’s ability to see, produce and think, to be created. The political power of art, rather than being in teaching, demonstrating, provoking or mobilizing, is in its ability to create public spaces thus conceived.
‘Absence’ then seemed the appropriate complement to ‘production’. Your watchword calls this pattern into question. It links production with the risk of the presence that verifies the effects while these have never been the object of any calculation. It links production and presence beyond the usual figures of generosity that exiles itself from art venues to reach the ‘non-audience’ or beyond a sacrificial exposure to the cruelty of the one to whom we come, powerless. It may seem contradictory to create a form that involves an Other while affirming one’s own production, without concession, without the need for a response. The answer might be that the two terms imply the presence of a third party that includes both of them and takes them beyond themselves. A Bijlmer Spinoza Festival, a Deleuze Monument, Twenty-Four Hours for Foucault: this means bringing into a contained time and space a power of thought, a power of community in which both the artist’s absolutely determined, absolutely autonomous proposition and the unpredictable participation of a ‘non exclusive audience’, an audience without specificity, can be included. The autonomous and the non-exclusive then both appear as two forms of universality that are linked not in the dual relationship of the encounter but because the proposition itself is already permeated by this power of universality and otherness that I call ‘presupposition of the equality of intelligences’ and which you refer to as the ‘love of the infinitude of thought’.
Fragments of a discussion between Jacques Rancière and Thomas Hirschhorn (Via open!)