Victims Symptom (Ptsd and Culture)
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ANA PERAICA VICTIMS SYMPTOM (PTSD AND CULTURE) A SERIES OF READERS PUBLISHED BY THE INSTITUTE OF NETWORK CULTURES ISSUE NO.: 3 ANA PERAICA VICTIMS SYMPTOM (PTSD AND CULTURE) Theory on Demand #3 Victims Symptom PTSD and Culture Editor: Ana Peraica Copy editing: Vicky Anning and Michael Dieter Texts: Sezgin Boynik, Adila Laidi Hanieh, Geert Lovink, Ana Peraica, Stevan Vukovicć Interviews by: Ana Peraica (with Enrique Arroyo, Noam Chomsky, Agricola da Cologne, Anur Hadziomerspahic, Joseph de Lappe) and Marko Stamenkovic (with Peter Fuchs, Jonas Staal, Carlos Motta, Neery Melkonian and Tomas Tomlinas) Artists’ statements: Mauricio Arango, Alejandro Duque, Andreja Kuluncic, Marko Peljhan and Martha Rosler Glossary: Tihana Jendricko and Tina Peraica Comissioned by: Lab for Culture, Amsterdam, 2008 Design: Katja van Stiphout DTP: Margreet Riphagen Printer: ‘Print on Demand’ Publisher: Institute of Network Cultures, Amsterdam 2009 ISBN: 978-90-78146-11-7 Contact Institute of Network Cultures phone: +3120 5951863 fax: +3120 5951840 email: [email protected] web: http://www.networkcultures.org This publication is available through various print on demand services. For more information, and a freely downloadable pdf: http://networkcultures.org/theoryondemand. This publication is licensed under the Creative Commons Attribution Noncommercial No Derivative Works 3.0 Netherlands License. No article in this book may be reproduced in any form by any electronic or mechanical means without permission in writing from the author. VICTIMS’ SYMPTOM 3 CONTENTS The Exploitation of Death Ana Peraica 6 PART 1 - VICTIMS’ SYMPTOM 1. Day After Day 15 Mauricio Arango 2. Victims’ Symptom: Post –Traumatic Stress Disorder (PTSD) and Culture 16 Ana Peraica 3. On Saints and Snuff 22 An interview with Sue Golding aka Johnny de Philo 4. Snuff and Art 24 An interview with Enrique Arroyo PART 2 - VICTIMS 5. WDWTW (Who Did What To Who?) 27 Alejandro Duque 6. Force of Trauma 29 Sezgin Boynik 7. Neither Victims Nor Heroes, But Survivors 37 An interview with Jonas Staal 8. We Leave No One Behind: De-Victimisation and Stereotypes 41 An interview with Peter Fuchs PART 3 - WITNESS 9. Landscape 1995 - Pokrajina 1995 44 Marko Peljhan 10. Niemand zeugt fur den Zeugen 45 Stevan Vukovic 11. Death and Advertising 56 Anur Hadziomerspahicć 4 THEORY ON DEMAND 12. Worthy and Unworthy Victims 59 An interview with Noam Chomsky PART 4 - MEMORIALS 13. Dust of the Office 60 Martha Rosler 14. Regarding One’s Pain: The 100 Shaheed - 100 Lives Memorial Exhibition 62 Adila Laidi Hanieh 15. Iraqi Memorial Online 70 An interview with Joseph Delappe 16. Commemorating Victims 73 An interview with Agricola de Cologne 17. Not a Joy Ride (Or: Don’t Use the ‘G’ Word) 79 An interview with Neery Melkonian PART 5 - MEDIA AND THERAPY 18. Bad News 83 Andrea Kuluncic 19. Blogs as Self-Management Tools 85 Geert Lovink 20. Victims’ Dignity 92 An interview with Carlos Motta 21. Soft Genocities, Administrative Ethnic Cleansing and Civil Deathin Poat-Socialist Europa 94 An interview with Tomas Tomilinas Glossary 96 List of Illustrations 135 Works Cited 136 Author Biographies 146 VICTIMS’ SYMPTOM 5 The project Victims’ Symptom (PTSD and Culture) was commissioned by Lab for Culture in the occasion of their first anniversary and sponsored by European Cultural Foundation. The project itself was based on Nettime and Yasmin mailing list discussions entitled ‘War Profiteers in Art’, following up the Venice Biennial 2007 settlement. It was critical of the use of victims in cultural production, but necessarily found itself in the dangerous field of reusing them again. The project consisted of commissioned texts, artworks and interviews as well as a glossary as- sisting with the transfer between different disciplines, grounding the research in clinical psychia- try. They were meant to verify our notions of victims in terms of cultural hyper-production that shifted from original clinical meanings some time ago. According to contracts for maintenance, the site is going to be taken down following with con- clusion of the commission period with artists in 2009. After this point, we’ll no longer be able to access the essays and discussion live on the site. As a curator of online projects most of which disappeared for similar reasons (Technology of Sounded Space back from 1997 and Ma- chine_Philosopher from 1999), I found myself in the problem of how to document media artworks that were not commissioned by art institutions, but rather for temporary events, anniversaries, symposia or festivals. To lose hard work and great collaborations among clinical psychiatry professionals and cultural practitioners, as both artists, theorists and programmers, would be a great mistake, specifically for the reason that this type of academic interdisciplinary research demands a great deal more effort from all participants in crossing the boundaries of their own disciplines, as it begins with rechecking all terminologies and methods. But being not at the same time ‘academic’ in terms of production, it would be hard to squeeze an Internet project into official academic proceedings. The new book series from the Institute of Network Cultures (INC) has provided a solution for the preservation of this work. Although there are some differences in the transfer from a dynamic Internet project to a static book, at the expense of artworks, the project will ultimately itself stay with its original public – the online communities for which it was meant, and from where it origi- nally arrived. Most importantly, it would also document a precise moment in which it was produced; Kosovo’s fight for independence, Srebrenica’s cries for acknowledgement and the problems of Palestine just prior to the last attacks in Gaza. To document means not to commit a mistake – of reusing victims of the time for a mere event, be it an anniversary or festival. Ana Peraica Split, 2009 6 THEORY ON DEMAND THE EXPLOITATION OF DEATH ANA PERAICA This introduction is one of the outcomes of the debate provoked by my email – ‘War Profiteers in Art’ – criticizing Robert Storr’s set up at the 2007 Venice Bienniale.1 The debate was held in parallel on two email lists/networks in September 2007 – Nettime and Yasmin – and ended up in a project called Victims’ Symptom – Post Traumatic Stress Disorder (PTSD) and Culture (Lab- forCulture, European Cultural Foundation, 2008).2 Problems of curating such art were presented separately at Continental Breakfast Meeting in Istanbul (2007), while methodological discussions were included at the Mutamorphosis Conference in Prague (Leonardo and CIANT, 2007). Critical input to the thesis has been injected by George Slavich, a researcher in psychology who has, after his public lecture in MediLS, claimed the possibility that, “whole cultures are suffering from PTSD”, referring to the Croatian population.3 The reason for introducing a clinical definition of PTSD into this discourse around a cultural project was its analytical and clinical testability.4 As an indicator of trauma, it provides a clear definition based on practical evaluation via scientific methods, as opposed to the vaguely defined notion of trauma often used in cultural studies, especially trauma and Holocaust studies.5 More specificially, the scientific definition includes a hormonal reaction, showing the level of cortisol hormone.6 Using scientific tools, continual strategic research would, therefore, open up more radical meth- ods of distinguishing a report of the victim and a diary of a real or fake victim as well as its narratives, but also the dangers of evoking the original trauma and, therefore, re-victimizing the untreated or even unrecognized victim in a variety of ways, through political, but also cultural productions. Bringing together artists, theoreticians and programmers, the project Victims’ Symptom mapped an interdisciplinary field between cultural studies and clinical research that explored a variety of methods, frameworks and practices. Two young scholars, Tihana Jendricko and Tina Peraica, from the Psycho-trauma Center in Zagreb, have carried out research working with PTSD patients in practice. A new critical glossary was introduced to help clarify the definition of symptoms. One additional methodological and contextual task, provoked by the death of Joseph Weizen- baum, the author of the first software program dealing with contemporary (Rogerian) psychiatry – the ELIZA (1966) – was to examine the abuses of psychiatric knowledge, not only its possibili- 1. 52nd Venice Biannual had the concept/title: Pensi con i Sensi, Senti con la Mente, or Think With the Senses, Feel with the Mind: Art in the Present Tense. 2. Project Victims Symptom (PTSD and Culture): http://victims.labforculture.org 3. G. Slavich, Slobodna Dalmacija, 2006 (the newspaper’s archive has been inaccessible since 01.01.2008). 4. Glossary: ‘Posttraumatic Stress Disorder (PTSD)’, p. 143. 5. Stevan Vukovic: Niemand zeugt für den Zeuge’ p. 49. 6. Glossary: ‘PTSD’, p. 143. VICTIMS’ SYMPTOM 7 ties to cure.7 Besides New Age self-help and the neoliberalist conceptions of the customer as the victim to be saved by a product, more radical examples emerge; for example, the engagement of psychiatrists in armed conflict and war in ex-Yugoslavia. The negative outcome of psychiatry in the cases of Serbian war criminals Jovan Raskovic and Radovan Karadzic, who obviously misused the psychological and social knowledge, inducing the social discourse of the ‘victimisation’ (“we are the victims”) as a call for