From the singularity to pluralism, from the esoteric to the common knowledge, from the subversive to the status quo, and from the interface to the irl… this week’s readings on the systems of ‘things’ and their specific place for reaction in a capitalist order became an illuminating resource for the politics of, to quote TED’s slogan, “ideas worth spreading”. I found Gina Badger’s introductory section for Guattari’s Three Ecologies to be the fundamental in this relationship, sharing early reflections on the very real unity of environmental, social, and political systems. To truly, authentically take part in positive transformation away from capitalist thought, activity must engage with these systems and create a dialogue which extends beyond these ‘circles of certainty’ as Freire would say. Worth noting is that this sentiment is one that Buckminster Fuller shares deeply, and goes at great lengths in his texts to elaborate on the synergetic comprehensivity of which mankind is all too poised to embark on [for better and for worse].
So with this in mind, what I became most distracted by this weekend was Benjamin Bratton’s [B.B.] remark on pg45 of METAIMAGES, METAINTERFACES when he speaks of “‘post-social’ collective representation.” Allowing thoughts on social representation and the political aesthetic of art the modern room for breath, Bratton emphasizes the active role of the non-human in social intervention, and the the position of the interface in the human’s relationship to environment. He and Natalie Jeremijenk carry on a fascinating [over-my-own-head] conversation that cyclicly leads back to this defining point, that from the bottom-up our singular events and forms of expression are at once connected and when the interface is acknowledged as a participatory structure we will have be in a position to recode the code. That winded myself to type, so to break that down a bit simpler, in “formal” communicative rationality lies the opportunity for the aggregation of local actions to become “law.” I won’t bring up Freire here, but you already know what I would spout off about [coughcriticalconsciousnesscough].
While I should take this opportunity to reflect upon the open source movement or our transitional period of the social network to the immersive gamification of life, what I’d like to show you comes from current CalArts student Yung Jake. This weekend he launched an introductory portal into his school project, an album in reaction to internet-based memes, hype, buzz, trends, circles, lists, that not only raised the bar for content aesthetic and presentation, but presents a focused perspective on the ecosystem of the internet and how these digital tools act in collaboration to produce a single object: the song, the star, the image. Yung Jake takes his dashboard in reigns and participates directly in mocking, imitating, and playing with the coded structures of what it means to be a DIY [he didn’t build his laptop, but roll with me here] musician trying to be heard. E.mbed.de/d shines on this precise moment in time, authentically, and engaged with far more than lyrical delivery.