Well, there sure is a whole lot of surplus or excess wealth out there, only it’s a surplus that’s misrecognized as individually rather than socially produced and that in turn is appropriated by an infinitesimally small fraction of the population. And then on the other hand here are all these artists with huge student loans to repay, struggling to survive, their creativity narrowed by necessity, their art as surplus folded back into scarcity. They have zero chance for commercial sales and no more government support to turn to. Rather than the N.E.A. they have to hit up today’s Medici-like mega-patrons like the Warhol Foundation, or they simply turn to each other through crowdsourced funding and community supported art schemes. That’s a pretty tense situation. And pretty interesting. All these people walking around, in all these different places, saying, “I just want to do things for their own sake.” I have no problem with that whatsoever. More artists out in the world thinking that, in a society able to create such incredible wealth, more people should be able to spend their time freely, doing whatever it is they want to do.
The way that Boltanski and Chiappello talk about the new labor is much like how Robert Morris talked about his new artwork in ‘66. It’s not that the artwork is less important, it’s just less self-important. And that’s the new labor management idea: you transcend categories as your different contexts ask you to be different things. That’s a parallel between business literature and artworld discourse. The free agent and the social practice artist are both talked about as transcending categories, and the problem is—there are those people who get paid handsomely, who make a great living off doing that: hedge fund managers, venture capitalists. They’re the people that do precarity well and win at it, but it’s the same system that produces the people who don’t do so well. The hedge fund manager does a million different things and on the other side so does the person who works twelve different jobs in order to make one paycheck and has to be available 24/7 in case Walmart wants them to work the late shift or over the weekend. It’s precarity. Individuals who transcend categories are not only part of the system, they’re at the center of it. Then you’re not talking about the institution in the same way. In an information world, the institution is not brick and mortar. It’s discourse, it’s connections, it’s networks and moving around certain data in terms of its valuation—whether it’s hot or not or passé. If the old discourse about the old institution was about objects, if you came to terms with the institution by thinking about the context around objects, then the new primary unit is the subject, and you have to talk about the context around the subject.

The room of the modern person is stark, but in its simplicity it exudes wealth and sophistication. There is just an iPad and a simple bed or futon. None of the old-time accouterments, which signified intelligence, artistic interest, or a curiosity about the world, are evident. There are no magazines, books, or records anywhere. Just perhaps some high priced toiletries in the bathroom. Everything she needs is on the iCloud.

How long before we’re convinced that hands, arms, legs, and appendages are just bothersome?

The cyber-lords have already convinced us that maps, paper, pens, and even push buttons are somehow incredibly inconvenient and clumsy, leaving us scraping and pawing like drooling bug life on their flat digital dildos. Google’s search engines and applications have likewise taught us to refrain from using our apparently out-of-date and hopelessly inefficient brains.

What’s next? Giving up all thought, consciousness, history, and agency.

Hoarders are the only thing standing between these incomprehensibly rich, all-controlling, indecent, digital super-despots and the complete destruction of any alternative consciousness — and indeed any non-official history or interpretation of the world.

All Power to the Pack Rats | Jacobin

Ian Svenonius in Jacobin!

From food trucks to marijuana, the Reason report shows millennials are in favor of people doing their thing without state interference, but these are not the future capitalists the surveying foundations were hoping for. American millennials can’t possibly trust the government, but we still believe in a social safety net that takes care of everyone. This combination of libertarian and socialist values unnerves the major parties and unimaginative commentators, but it’s a logical response to the last 15 years. We’ve seen what happens when people don’t have anything to fall back on but the market, as well as what happens when the government feels entitled to know everything about everyone, and we don’t want either.

baberainbow
baberainbow:

Dummy Mix 218 // Babe Rainbow | Dummy
I made a mix for Dummy. Please enjoy.
Tracklist:
01. John Cage recorded at the Anthony d’Offay Gallery, London, in 1989 02. Trust Blush (demo) 03. TCF ae3f3c9a1faf1d1f7288d16148703afb8b3e66f0afdf049217e6193b268 04. Andy Stott Dark Details 05. Joane Skyler Foam 06. Lubomyr Melnyk The Eastern Horn (For 2 Pianos And 3 Contrabass) [Excerpt] 07. Wim Mertens Gentlemen of Leisure 08. Arthur Russell In Light Of The Miracle 09. Pender Street Steppers Openin Up 10. Arca Manners (Blend) 11. Konk Your Life 12. Heartbeat(s) Hocus Pocus (feat. Angelina Lucero) 13. Liquid Liquid Locked Groove (In) 14. Brian Eno & Robert Fripp Altair 15. Outkast Da Art Of Storytellin’, Pt. 1 16. Oneohtrix Point Never He She 17. Ricky Eat Acid God puts us all in the swimming pool 18. Avro Pärt My Heart’s In The Highlands 19. Nick Krgovich Constant Craving (k.d. lang cover) 20. Lana Del Ray Born To Die (Clams Casino Remix Instrumental) 21. Ensemble Economique Everything I Have, I Give To You 22. The Microphones Instrumental 23. Dan Mangan & Amy Millan Chances Are (Instrumental) 24. John Cage recorded at the Anthony d’Offay Gallery, London, in 1989

nice

baberainbow:

Dummy Mix 218 // Babe Rainbow | Dummy

I made a mix for Dummy. Please enjoy.

Tracklist:

01. John Cage recorded at the Anthony d’Offay Gallery, London, in 1989
02. Trust Blush (demo)
03. TCF ae3f3c9a1faf1d1f7288d16148703afb8b3e66f0afdf049217e6193b268
04. Andy Stott Dark Details
05. Joane Skyler Foam
06. Lubomyr Melnyk The Eastern Horn (For 2 Pianos And 3 Contrabass) [Excerpt]
07. Wim Mertens Gentlemen of Leisure
08. Arthur Russell In Light Of The Miracle
09. Pender Street Steppers Openin Up
10. Arca Manners (Blend)
11. Konk Your Life
12. Heartbeat(s) Hocus Pocus (feat. Angelina Lucero)
13. Liquid Liquid Locked Groove (In)
14. Brian Eno & Robert Fripp Altair
15. Outkast Da Art Of Storytellin’, Pt. 1
16. Oneohtrix Point Never He She
17. Ricky Eat Acid God puts us all in the swimming pool
18. Avro Pärt My Heart’s In The Highlands
19. Nick Krgovich Constant Craving (k.d. lang cover)
20. Lana Del Ray Born To Die (Clams Casino Remix Instrumental)
21. Ensemble Economique Everything I Have, I Give To You
22. The Microphones Instrumental
23. Dan Mangan & Amy Millan Chances Are (Instrumental)
24. John Cage recorded at the Anthony d’Offay Gallery, London, in 1989

nice

unmarkedlandmarks
unmarkedlandmarks:

Morning and it’s Summer
The Creative Act (excerpt) - Marcel DuchampL’Homme Solitaire - Les Temps HeureuxLenda das Amazonas - Burnier & Cartier20th Century - The Brazda Brothers
Summertime - Montreal
Pelas Ruas Do Meu Bairro - Antônio Adolfo & A BrazucaSusto - EdnardoLisa - AgincourtImperial Gold (feat. Joanne Robertson) - Dean BluntSummer Sunday Blues - FriendsIt’s So Easy - Ted LucasRam On - Paul McCartneyMasculino, Feminino - Erasmo Carlos
Kids and Dogs - David Crosby & Jerry Garcia

Another essential mix from Maryanne!

unmarkedlandmarks:

Morning and it’s Summer

The Creative Act (excerpt) - Marcel Duchamp
L’Homme Solitaire - Les Temps Heureux
Lenda das Amazonas - Burnier & Cartier
20th Century - The Brazda Brothers
Summertime - Montreal
Pelas Ruas Do Meu Bairro - Antônio Adolfo & A Brazuca
Susto - Ednardo
Lisa - Agincourt
Imperial Gold (feat. Joanne Robertson) - Dean Blunt
Summer Sunday Blues - Friends
It’s So Easy - Ted Lucas
Ram On - Paul McCartney
Masculino, Feminino - Erasmo Carlos
Kids and Dogs - David Crosby & Jerry Garcia

Another essential mix from Maryanne!

But here is the ultimate consequence of the internet moving offline. If images can be shared and circulated, why can’t everything else be too? If data moves across screens, so can its material incarnations move across shop windows and other enclosures. If copyright can be dodged and called into question, why can’t private property? If one can share a restaurant dish JPEG on Facebook, why not the real meal? Why not apply fair use to space, parks, and swimming pools? Why only claim open access to JSTOR and not MIT—or any school, hospital, or university for that matter? Why shouldn’t data clouds discharge as storming supermarkets? Why not open-source water, energy, and Dom Pérignon champagne?

If circulationism is to mean anything, it has to move into the world of offline distribution, of 3D dissemination of resources, of music, land, and inspiration. Why not slowly withdraw from an undead internet to build a few others next to it?

Somehow I hadn’t yet read this clearly seminal essay by Hito Steyerl from 2013.