Friday, August 17, 2007

The New Face of Revolution

From Adbusters #55, Sept-Oct 2004

Perhaps you can hear it from where you’re sitting now: that low, distant rumble, growing clearer and closer as you focus on it. Perhaps you can see the storm clouds on the horizon. Out there, change is coming.

This is not empty rhetoric. All over the world, there is a revolution brewing. It’s not a revolution in the sense that the twentieth century has taught us to understand the word: not a massing of red flags this time, not a determination to seize the state, not a gathering of Peoples’ Parties with blueprints for a new Utopia. This is something that is harder to explain at first sight, but no less significant.

It’s clear why it is happening: the world is more unequal than at any time in history. A planet in which 20 percent of us are rolling in 86 percent of the wealth, while the very systems of life itself come under increasing strain from mass over-consumption, is not a civilization built to last. The uprising against it began years ago, and it’s gathering in speed.

What used to be called, inaccurately, the ‘anti-globalization’ movement has become a worldwide web of people and groupings dedicated to reclaiming the power that the cult of the market has stolen from them.

They see how the stealing of that power has affected their communities, and as they do so, they see what their causes, their battles and their problems have in common with those elsewhere in the world. They have become a movement – the first genuine global movement of its kind – and they are still growing. Two hundred thousand of them gathered at the World Social Forum in Mumbai, India, this year, and they represent the tip of a political iceberg that is tens of millions strong.

Who are they? They are Mexican Zapatistas, still battling after a decade to reclaim their community rights from the corporate stitch-up of nafta. They are the South African poor in the townships fighting water privatization. They are landless people all over Latin America, struggling to redefine their position in a corporate farming world. They are local activists in the US, using the law to drive corporations out of their small towns. They are farmers in India, resisting corporate patents and the market-driven food industry. They are tribal people in New Guinea, resisting the corporate enclosure of their land for mining and oil drilling. They are young Europeans trying to rethink resistance to capitalism in the shadow of communism’s spectacular failure.

What is new, and gives cause for hope, is the widespread awareness that old answers will no longer do. Few people involved in this new wave of resistance are very interested in seizing the state. They see where that has taken us in the past, and they also see that globalization has undercut the ability of governments to run their own national economies. In almost every country on Earth, political parties of left, right or center now pledge themselves to the gods of the market. What this new wave of revolutionaries wants is the chance to create its own spaces, free of the rule of the market. If the state can’t deliver that, other ways must be found.

In other words, this is a power struggle. We can talk about nafta, about the wto, about corporations – but at the heart of it all is an age-old human battle over resources, power and the public mind. Money is currently winning that battle. Societies everywhere are becoming markets first and communities second. We become consumers above all, and only then are
we given permission to be human.

This movement seeks to make us people first, to drive the market back into its cage. It can be seen, perhaps, as a battle for the public over the private mind. Who wins it – movement or market – will determine our future. It could be our last, best chance to avoid the McWorld that so many of us can see around the corner.

The movement exists on every continent, but it has no global manifesto because it seeks, in the words of Subcomandante Marcos, “a world with many worlds in it.” Both communism and neoliberalism gave us universal blueprints for prosperity and both failed us. This time, we can’t afford to be fooled by ‘Big Ideas’ that are built around theory and not reality. We can’t afford it because, as the global economy spreads into every nook and cranny of a previously unmarketed world, resistance spreads too.

Perhaps you think that this resistance, and the determination to build a new world based on new values which flows in its wake, is something that just happens to other people, somewhere else in the world. Think again. Wherever you live, it’s coming your way, and it’s coming fast. There has never been anything quite like this before, and as long as the global economy continues to move in its current direction, spreading poverty, inequality, exclusion and environmental destruction in its wake, this rebellion can only grow. Keep your eyes on the horizon, and get ready.

Paul Kingsnorth is the author of One No, Many Yeses: A Journey to the Heart of the Global Resistance Movement (Free Press).

Making another world possible.

From Adbusters #57, Jan-Feb 2005

There is an expanding chasm between rich and poor, looming environmental calamities, global terror seemingly growing in tandem with global markets. Now look at art being made today. Is art playing a vital role in mounting resistance to these forces? Does it have the capacity to catalyze social change? Or is artist Martha Rosler right when she says, "The total freedom of the artist in Western society also ineluctably signals total irrelevance"? As artists like Sam Durant are quick to point out, "art is an effective method of resistance and change - just as it is an effective tool for the maintenance of power or the status quo." But some recent strategies of artmaking are working to tip the balance to progressive change.

One shares its name with an exhibition on view at Massachusett's MASSMoCA through March 2005: The Interventionists. These artists seek to "enter physically," writes Nato Thompson in the show's catalog: "that is, they place their work into the heart of the political situation itself." By changing the context - going into the streets or bringing the "real world" into the gallery - art makes the much-touted, yet little realized, leap between art and life. For example, the exhibition features mobile shelters for the homeless created by Krzysztof Wodiczko and the Danish art group n55 that could easily be relegated to a museum show on design. But fabricated for actual use outside the gallery, these constructions serve dual roles of giving practical help to the homeless while using aesthetic means to raise the visibility of the easily overlooked urban poor.

Well known to culture-jammers is a form of intervention described by the Situationist term detournement. "One tactic is not to present something that we all recognize as shocking, but to present the shocking aspect of what is comfortably familiar; or to defamiliarize the commonplace," writes Jean Fisher in the catalogue for Documenta 11, a recurring exhibition in Kassel, Germany, that frequently addresses geopolitical concerns. This flip is demonstrated by Mexico City-based artist Minerva Cuevas who has repurposed corporate mechanisms, from consumer brands to the very structure of a corporation, to "make information available, readable . . . and to translate social campaigns into their visual or graphic form." In an early project, Cuevas founded the Mejor Vida (Better Life) Corporation, a nonprofit once housed in Mexico City's tallest trade tower, to do work that doesn't compute in bottom-line-driven circles: give away unscratched lottery tickets (and any winnings), distribute barcode stickers to give shoppers fair prices at supermarkets, create MVC student IDs so cardholders can get free admission at publicly funded museums and discounts on public transportation. In one of Cuevas' more recent projects, she spotlights little-known American history: in 1954, the CIA backed a coup in Guatemala that overthrew a democratically-elected leader who sought to nationalize the powerful United Fruit Company. Cuevas' wall-sized mural features a Del Monte label for canned tomatoes with red juice flowing onto the gallery floor, puddling like blood. Accompanied by the words "Pure Murder," she references either the CIA's assassin trainings or the half century of violence the coup triggered - or both.

While such work responds to current events, it’s not reactionary. So unlike earlier forms of protest-based art, it goes beyond proposing the inverse of that which it opposes, to deconstructing the underlying memes. Forgoing the binary view of Del Monte (the company that bought United Fruit’s land when it folded), she complicates the reassuring design of a corporate label, hinting that the “purity” of our food includes not just its ingredients but the practices by which it’s harvested and sold in the global marketplace as well. The problem with oppositionality, writes Fisher, is that, “by itself, it seldom sustains a change in perception because it leaves the basic structure or system intact: the system is well able to absorb any message, provided its code remains unchanged.” But by making alternate narratives, the memes can be exposed and, hopefully, eroded.

That seems to be the motive of Paul D. Miller (aka DJ Spooky) in his recent project Rebirth of a Nation. An experimental musician and hip-hop artist, Miller has made a high-tech reinterpretation of the 1915 film The Birth of a Nation, the explicitly racist tale by D.W. Griffith long used in recruiting by the Ku Klux Klan. Using the DJ’s toolbox, Miller sliced and diced a troublesome film – a “cinematic classic” that, because of its innovative editing and camera angles, is one of the American Film Institute’s Top 100 American films of all time – overlaying hypnotic digital graphics and film footage (including a Bill T. Jones dance work based on African-American history) with a soundtrack of hip hop, dub, live violin, and ambient sounds. By reworking the film’s DNA through an artform developed in large part by African-Americans, Miller reclaims the techniques of montage and intercutting, while also “taking back” the history appropriated by Griffith. “Basically I’m holding the remix of the film up to America in a way that says, ‘Another world is possible,’” Miller explains. “How do you make it real?”

And that's art's strength - it creates a language of possibilities for our consideration, "endless alternatives," as Walker Art Center curator Philippe Vergne says. To ask it to be something else is wrongheaded. After all, it's art, not advertising, entertainment, or electoral politics. We don't hold our poets accountable for the effectiveness of their verse nor do we judge the aesthetic standards of our senators. But when art is successful - when it moves its viewers to act - it feeds a network of others who are using various tools, from protest to policy, voting to community organizing. "Art is a part of the struggle," says Durant. "It isn't itself the cause of some radical change but can be part of the movement for revolutionary change and social justice."

Paul Schmelzer

ความพ่ายแพ้ของนักฝัน

รู้สึกท้อแท้อย่างบอกไม่ถูก
ความรู้สึกอึดอัด ทำอะไรไม่ได้ค่อยๆ สั่งสมเพิ่มพูนมากขึ้นทีละน้อย
ผมเป็นคนช่างฝัน คิดว่าตัวเองเป็นอย่างนั้นนะ
ผมมักจะฝันอยากให้เกิดโน่นเกิดนี่ ทั้งในชีวิตตนเองและสังคมอยู่เสมอ
และมักจะแบ่งปันฝันให้หลายคนได้รับรู้อยู่เสมอ
หลายปีที่ใช้ชีวิตเป็นนักฝัน
เรียนรู้ที่จะแบ่งฝันให้คนอื่น รวมทั้งรับฝันคนอื่นมาฝันต่อ
ได้เรียนรู้ว่าหากฝันเราใหญ่พอ เราก็จะมีผู้ร่วมฝันจำนวนมาก

ทำงานมาหลายปีค่อยๆ ก่อรูปฝันให้เป็นจริงทีละเล็กทีละน้อย
เรียนรู้และเติบโตกับการลองผิดลองถูก
สนุกกับความล้มเหลวนับไม่ถ้วน
พองโตกับความสำเร็จเล็กๆ น้อยๆ
กระทั่งปัจจุบันมีกลุ่มก้อนของคนที่ฝันคล้ายคลึงกันอยู่กลุ่มหนึ่ง

แต่นั่นเป็นเรื่องที่ผมคิดไปเองหรือเปล่า
ผมคิดไปเองว่าคนอื่นก็เป็นนักฝัน ที่อยากเห็นอะไรๆ ดีขึ้น
พร้อมลงทุนชีวิตที่จะวิ่งตามฝัน
ผมเพ้อฝันว่าคนกลุ่มเล็กๆ ที่ผมอยู่ด้วยนั้นเป็นนักฝันที่มีพลัง

แต่ความจริงก็เปิดเผยให้เห็นโลกอันโหดร้าย
คนกลุ่มที่ผมอยู่ด้วยนั้น
มีความสุขอยู่กับการเฝ้าบอกตัวเองว่าทำอะไรไม่ได้ เพราะเหตุผลต่างๆ สามแสนประการ
มีชีวิตอยู่กับเรื่องราวเดิมๆ ที่ตนเองทำอยู่ แต่พร้อมจะพูดจาด้วยภาษาของนักฝัน
รักความมั่นคงยิ่งกว่าการสร้างสรรค์ รักชีวิตเดิมๆ มากกว่าการเปลี่ยนแปลง
เรียนรู้ที่จะโทษคนอื่นมากกว่าจะเรียนรู้ที่จะทำสิ่งใหม่
โลกที่ความจริงมีอำนาจเหนือความฝันมันโหดร้ายถึงเพียงนี้

ในที่สุดความรู้สึกด้านลบที่ผมพยายามแปรเปลี่ยนให้เป็นพลังด้านบวกก็เอาชนะผมจนได้
ผมกลายเป็นคนแบบนั้นไปด้วยโดยไม่รู้ตัว
นี่หรือเปล่าที่เขาเรียกว่าพลังของชุมชน ใกล้ชาดกลายเป็นแดง ฯลฯ

ผมพ่ายแพ้ให้แก่"นายพ่ายแพ้"ในตัวเอง "นายชนะ" หลบหายไปในซอกหลืบของความหม่นหมอง
ผมจะทำอย่างไรดี
- ออกจากชุมชนห่วยๆ นี้ไปซะ
- ปลุกพลังตนเองขึ้นมาใหม่ ตามหานายชนะให้เจอ
- เรียนรู้ที่จะทำงานโดยคาดหวังให้น้อยลง เชื่อมั่นในศักยภาพมนุษย์ปัจจุบันให้น้อยลง
- อะไรดีหนอ อะไรดี

อยากเปลี่ยนแปลงโลกแต่ไม่อาจเปลี่ยนแปลงแม้แต่ชีวิตตนเอง...

Thursday, August 16, 2007

กลับมาแล้ว

กลับมาเยี่ยมเยียนบลอกตัวเองอีกครั้ง
หลังจากหายไปนาน ไปสร้างบลอกที่อื่นเยอะแยะ
แต่ก็คิดถึงที่นี่อยู่เสมอ
คงจะกลับมาอีกเรื่อยๆ