----------empyre- soft-skinned space----------------------

dear all

i think we can teach virtuosity, and you can teach irony, usefully;  I do like 
the 
"modos de hacer colectivo" , and many insights learnt here, very usefully 
indeed from 
Carol-Ann's association concert-urbain and her politics of working with people 
in
the neighborhoods - 

Ana, is this what you also refer to as a collaborative environment
(in the activist sense you imply or the political geographies you mentioned, 
not the interactive-art sense), neighborhoods/conflict zones?
 
and then these would be outside academia, and academia's or philosophy's 
language games?  or how are they represented
here or there, in various interrelated arenas, to what extent is education now 
again part of theological or corporate business management?

how would an idea of non-collective (since the collective is utopian - and 
modos de hacer colectivo are difficult to sustain?) activism relate back to 
Cecilia's "private politics" (& public secrets)
and to what extent are you positing an older political activism vs a newer 
activism, and to what purpose?      yet Ricardo's narration on 
EXCEDENTES/EXCESS  & "Carrito Mermas"  or Paul Vanouse's pedaling 
intrefventions and then the discussion about language difficulties were very 
effective too, thanks to all of you for these posts. 

Cecilia Parsberg writes:
>
I regard activism as an open definition and it's defined in the project by the 
project itself; by what is made or achieved in regard to the purpose, the 
initiative and response, process, situation/site/relations.
>>

Admirably, like Brooke Singer in her postmedium post,  Cecila speaks of making 
images with others rather than of others or the self  (though that, too?), and 
Simon in his usual and wonderful sarcastic sense picked up on this, when he 
asks us here why we are not collaborating. Why everyone is so self-affirming. 

Please expand on "What has happened is an evaporation of critical object".... 


regards
Johannes Birringer
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