2 Psychogeography and Feminist Methodology Alexander John
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Home-Stewart Plagiarism.-Art-As-Commodity-And-Strategies-For-Its-Negation.Pdf
British Library Cataloguing in Publication Data Plagiarism: art as commodity and strategies for its negation 1. Imitation in art — History — 20th century 2. Art — Reproduction — History — 20th century I. Home, Stewart 702.8'7 N7428 ISBN 0-948518-87-1 Second impression Aporia Press, 1987. No copyright: please copy & distribute freely. INTRODUCTION THIS is a pamphlet intended to accompany the debate that surrounds "The Festival Of Plagiarism", but it may also be read and used separately from any specific event. It should not be viewed as a cat alogue for the festival, as it contains opinions that bear no relation to those of a number of people participating in the event. Presented here are a number of divergent views on the subjects of plagiarism, art and culture. One of the problems inherent in left opposition to dominant culture is that there is no agreement on the use of specific terms. Thus while some of the 'essays' contained here are antagonistic towards the concept of art — defined in terms of the culture of the ruling elite — others use the term in a less specific sense and are consequently less critical of it. Since the term 'art' is popularly associated with cults of 'genius' it would seem expedient to stick to the term 'culture' — in a non-elitist sense — when describing our own endeavours. Although culture as a category appears to be a 'universal' experience, none of its individual expressions meet such a criteria. This is the basis of our principle objection to art — it claims to be 'universal' when it is very clearly class based. -
00A Inside Cover CC
Access Provided by University of Manchester at 08/14/11 9:17PM GMT 05 Thoburn_CC #78 7/15/2011 10:59 Page 119 TO CONQUER THE ANONYMOUS AUTHORSHIP AND MYTH IN THE WU MING FOUNDATION Nicholas Thoburn It is said that Mao never forgave Khrushchev for his 1956 “Secret Speech” on the crimes of the Stalin era (Li, 115–16). Of the aspects of the speech that were damaging to Mao, the most troubling was no doubt Khrushchev’s attack on the “cult of personality” (7), not only in Stalin’s example, but in principle, as a “perversion” of Marxism. As Alain Badiou has remarked, the cult of personality was something of an “invariant feature of communist states and parties,” one that was brought to a point of “paroxysm” in China’s Cultural Revolution (505). It should hence not surprise us that Mao responded in 1958 with a defense of the axiom as properly communist. In delineating “correct” and “incorrect” kinds of personality cult, Mao insisted: “The ques- tion at issue is not whether or not there should be a cult of the indi- vidual, but rather whether or not the individual concerned represents the truth. If he does, then he should be revered” (99–100). Not unex- pectedly, Marx, Engels, Lenin, and “the correct side of Stalin” are Mao’s given examples of leaders that should be “revere[d] for ever” (38). Marx himself, however, was somewhat hostile to such practice, a point Khrushchev sought to stress in quoting from Marx’s November 1877 letter to Wilhelm Blos: “From my antipathy to any cult of the individ - ual, I never made public during the existence of the International the numerous addresses from various countries which recognized my merits and which annoyed me. -
Iain Sinclair and the Psychogeography of the Split City
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Iain Sinclair and the psychogeography of the split city https://eprints.bbk.ac.uk/id/eprint/40164/ Version: Full Version Citation: Downing, Henderson (2015) Iain Sinclair and the psychogeog- raphy of the split city. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 IAIN SINCLAIR AND THE PSYCHOGEOGRAPHY OF THE SPLIT CITY Henderson Downing Birkbeck, University of London PhD 2015 2 I, Henderson Downing, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract Iain Sinclair’s London is a labyrinthine city split by multiple forces deliriously replicated in the complexity and contradiction of his own hybrid texts. Sinclair played an integral role in the ‘psychogeographical turn’ of the 1990s, imaginatively mapping the secret histories and occulted alignments of urban space in a series of works that drift between the subject of topography and the topic of subjectivity. In the wake of Sinclair’s continued association with the spatial and textual practices from which such speculative theses derive, the trajectory of this variant psychogeography appears to swerve away from the revolutionary impulses of its initial formation within the radical milieu of the Lettrist International and Situationist International in 1950s Paris towards a more literary phenomenon. From this perspective, the return of psychogeography has been equated with a loss of political ambition within fin de millennium literature. -
'How Does One Become Guy Debord'?
HIMA 13,1_Rev_268_f9_183-193 3/14/05 2:52 PM Page 183 The Tribe JEAN-MICHEL MENSION, translated by Donald Nicholson-Smith London: Verso, 2002 The Consul RALPH RUMNEY, translated by Malcolm Imrie London: Verso, 2002 Bohemians: The Glamorous Outcasts ELIZABETH WILSON London: I.B. Tauris, 2000 Reviewed by MICHAEL CALDERBANK ‘How Does One Become Guy Debord’? The highest aspiration of the revolutionary, it has been argued, is to be put out of business altogether. That is, the aim of a radical politics is to eradicate the very conditions that necessitate its emergence, and thereby dissolve the exceptional nature of its own stance. From this perspective, the contemporary fascination and nostalgia for the Situationist International (SI) might be seen, ironically, as symptomatic of the ultimate failure of their enterprise.1 The situationists, for their part, anticipated with dread the dangers of ‘recuperation’ into the Spectacle, the all-encompassing surrogate that they believed late capitalism was substituting for autonomous human experience. Here was a movement heavily steeped in aesthetic concerns that sought to challenge the very discursive and institutional specialisation of art itself. They understood from the beginning that their success could be guaranteed only in so far as they managed to engineer their own self-liquidation, and here it is tempting to see their self-destructive drinking binges and Debord’s eventual suicide as a distorted expression of the broader logic of the movement. By contrast, the erection of a whole academic sub-industry around the SI threatens to see them immortalised and turned into something of a fetish: the obsession with the last of the real revolutionaries, the authentic expression of radical Sixties’ counterculture at its purest. -
Neoist Interruptus and the Collapse of Originality
Neoist Interruptus and the Collapse of Originality Stephen Perkins 2005 Presented at the Collage As Cultural Practice Conference, University of Iowa, March 26th, Iowa City Tracing the etymology of the word collage and its compound colle becomes a fascinating journey that branches out into a number of different directions all emanating from the act of gluing things together. After reading a number of definitions that detail such activities as sticking, gluing, pasting, adhering, and the utilization of substances such as gum (British), rubber cement (US) and fish glue, one comes upon another meaning of a rather different order. In France collage has a colloquial usage to describe having an affair, and colle more specifically means to live together or to shack up together.1 While I lay no great claims to any expertise in the area of linguistic history, I would suggest that this vernacular meaning of colle arises when living together would have generated far more excitement than the term, and the activity, generates today. And, while the dictionary definition of the word does not support the interpretation that I am going to suggest here, I would argue that its usage in its original context would have generated a very particular kind of frisson that would have been implicitly associated with the act of two people being collaged or glued together, in other words fucking, or to fuck, or simply fuck. What has this to do with a paper on collage as cultural intervention, you might ask? It’s simple really, well relatively. My subject is a late 20th century international avant-garde movement known as the Neoist Cultural Conspiracy (Neoism for short), which I would argue is the last of the historic avant-gardes of the 20th century. -
From Squatting to Tactical Media Art in the Netherlands, 1979–1993
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Between the Cracks: From Squatting to Tactical Media Art in the Netherlands, 1979–1993 Amanda S. Wasielewski The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3125 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BETWEEN THE CRACKS: FROM SQUATTING TO TACTICAL MEDIA ART IN THE NETHERLANDS, 1979–1993 by AMANDA WASIELEWSKI A dissertation submitted to the Graduate Faculty in Art History in partiaL fulfiLLment of the requirements for the degree of Doctor of PhiLosophy, The City University of New York 2019 © 2019 AMANDA WASIELEWSKI ALL Rights Reserved ii Between the Cracks: From Squatting to TacticaL Media Art in the Netherlands, 1979–1993 by Amanda WasieLewski This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of PhiLosophy. Date David JoseLit Chair of Examining Committee Date RacheL Kousser Executive Officer Supervisory Committee: Marta Gutman Lev Manovich Marga van MecheLen THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Between the Cracks: From Squatting to TacticaL Media Art in the Netherlands, 1979–1993 by Amanda WasieLewski Advisor: David JoseLit In the early 1980s, Amsterdam was a battLeground. During this time, conflicts between squatters, property owners, and the police frequentLy escaLated into fulL-scaLe riots. -
Psychogeography: Framing Urban Experience
Psychogeography: Framing Urban Experience The cross-disciplinary thought given to the city, particularly over the past forty years, has led to its reconceptualisation in terms of urban -economic, sociopolitical, and more recently cultural- relations. This has provided the context for often generalised observations of subjective urban experience, recalling Simmel’s investigations of industrial metropolitan individuality, and a recycling of artistic practices like psychogeography that engaged with the urban imaginary and everyday life. Initially, “the word psychogeography,” so Guy Debord’s story goes, was a neologism, “suggested by an illiterate Kabyle as a general term for a phenomena a few of us were investigating around the summer of 1953”. The directeur of the Lettrist International (LI), and from 1957-72, also Situationist International (SI), goes on to explain this phenomena as “the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals.”1 In practice, this was approached with emphatically un-academic methods, the most established being the dérive. With a backward glance at surrealist automatism, this recreational tactic properly entailed several psychogeographers together negotiating “urban ambiences” -frequently in Paris, but also in Amsterdam, London, Venice- talking and taking advantage of any bars en route. Such diversions were documented in written accounts and psychogeographical maps, and thus described in the LI’s journal Potlatch and the SI’s Internationale Situationniste. Moreover, the resulting conclusions were applied in proposals for a unitary urbanism that reimagined the city as a site of play, creating disorientating ‘situations’ for the ludic education of its inhabitants. -
Chronology of the Lettrist International and the Situationist International
Appendix 4 Chronology of the Lettrist International and the Situationist International 1951 – In April, Guy Debord meets Lettrist leader Isidore Isou and several other Lettrists at the Cannes Film Festival. – In the summer, Debord graduates from high school in Cannes, moves to Paris, and joins Isou and the Lettrists. – Throughout 1951, Debord spends much of his time at his favorite bar, Chez Moineau, where he meets several people who would become important to him during that time, including Gil Wolman, Michele Bernstein, Ivan Cht- cheglov, Eliane Papai, and Jean-Michel Mension. 1952 – In February, Wolman screens his only film L’Anticoncept. – In June, Debord screens his first film, Howls in Favor of Sade; the audience erupts in anger, halting the screening. – In October, Debord, Wolman, and two other Lettrists perpetrate the “No More Flat Feet!” scandal against Charlie Chaplin, an action Isou distanced himself from in a newspaper article. – In December, Debord, Wolman, and other Lettrists split from Isou to form the Lettrist International (LI). 1953 – In early 1953, Debord artistically manifests the LI’s contempt for wage slav- ery when he scrawls “Ne Travaillez Jamais!” (“Never Work!”) on a wall on the rue de Seine. – In October, Chtcheglov presents Debord with his poetic manifesto, “Formu- lary for a New Urbanism.” © koninklijke brill nv, leideN, 2019 | DOI: 10.1163/9789004402010_014 James Trier - 9789004402010 Downloaded from Brill.com09/30/2021 07:21:04AM via free access 422 Appendix 4 1954 – In June, the LI publishes the first issue of Potlatch, which will continue to be published semi-regularly through much of 1957, when the Situationist International is formed. -
To Realize Art: Notes for a History of the Situationist International
156 83RD ACSA ANNUAL MEETING HlSTORYiTHEORYlCRlTlClSM 1995 To Realize Art: Notes for a History of the Situationist International LIBERO ANDREOTTI Georgia Institute of Technology Philosophy must never forget that it has always spoken Pavillon des Temps Nouveaux (1937).2In 1953 he founded its part in the most burlesque and melodramatic setting the IMIB as an alternative to Max Bill's more technical school - Attila Kotani at Ulm, guilty in his view of having sold-out the Bauhaus idea to industrial capitalism. In its short life-span of only three In Theoy of the Avant-garde, Peter Burger argues that years, this "center for free and experimentalresearch " had been Futurism, Dada, and Surrealism aimed at "the sublation of art able to attract several leading European artists, including into life." A similar consideration might well be made about Matta and Enrico Baj, and had already exhibited some of its the Situationist International (SI), a movement of great ambition and influence whose reflections on art, the city, spontaneity, and the spectacle, have insured it a vital but largely hidden role in 20th century art and politics. ' In what follows I propose to sketch briefly the history of this group from its beginnings in 1957 to its participation (some would say its leading role) in the May '68 events in France, which marked the zenith of SI activity and also the beginning of the group's decline (it was formally dissolved in 1972 by its only two remaining members, Guy Debord and Gianfranco Sanguinetti). More specifically, I would like to emphasize 1) the urban dimension of many SI practices, as seen in the notions of "derive," "psychogeography," and "unitary ur- banism," 2) the importance of play as a technique of diversion and re-appropriation, evident especially in the notion of "detoumement," and 3) the global scope of SI activities, which ranged from poetry to architecture, fiom cinema to urbanism, and which developed as part of the group's totalizing (in Lukacs' sense) critique of capitalist consumer culture. -
Ralph Rumney
the consu I RALPH RUMNEY CONVERSATIONS WITH GERARD BERREBY WITH THE HELP OF GIULIO MINGHINI AND CHANTAL OSTERREICHER TRANSLATED FROM THE FRENCH BY MALCOLM IMRIE Contributions to the History of the Situationist International and Its Time, Vol. II CITY LIGHTS BOOKS SAN FRANCISCO © 2002 by Malcolm Imrie for this translation © 1999 by Editions Allia, Paris, forLe Consul by Ralph Rumney All rights reserved. 10 987654321 Cover and book design: StefanGutermuth/doubleu-gee Editor: James Brook This work, published as part of the program of aid for publication, received support from the French Ministry of Foreign Affairs and the Cultural Service of the French Embassy in the United States. Cet ouvrage publie dans le cadre du programme d'aide il la publication beneficie du soutien du Ministere des Affaires Etrangeres et du Service Culture! de l'Ambassade de France represente aux Etats-Unis. Library of Congress Cataloging-in-Publication Data Rumney, Ralph, 1934. [Consul. English] The consul I by Ralph Rumney ; translated from the French by Malcolm Imrie. p. cm. - (Contributions to the history of the Situationist International and its time ; 2) ISBN 0-87286-398-0 1. Rumney, Ralph, 1934--Interviews. 2. Artists--England-Interviews. 3. Internationale situationniste. 4. Avant-garde (Aesthetics)-Europe-History-20th century. I. Title. IL Series. N6797.R83 A35 2002 700'.92-dc21 2002019772 CITY LIGHTS BOOKS are edited by Lawrence Ferlinghetti and Nancy J. Peters and published at the City Lights Bookstore, 261 Columbus Avenue, San Francisco, CA 94133. Visit us on the Web at www.citylights.com. To Sindbad Flee the ruins and don't cry in them. -
Introduction: from the Notion of Spectacle to Spectacle 2.0: the Dialectic of Capitalist Mediations Marco Briziarelli and Emiliana Armano
CHAPTER 2 Introduction: From the Notion of Spectacle to Spectacle 2.0: The Dialectic of Capitalist Mediations Marco Briziarelli and Emiliana Armano 1. Context and Purpose Sometimes the literary fortune of a book can almost be unfortunate. We think this is the case of Guy Debord’s Society of the Spectacle, which on the one hand succeeded where most of our scholarship concerned with the production of critical knowledge tends to fail, by going beyond the constraining walls of aca- demic discourse and inspiring human emancipation. On the other hand, while the idea of the Spectacle has infiltrated the collective imagery, it has most fre- quently done so through the popularization of its most glaring surface, thus limiting its overall significance. It is indeed easier to think of the Debordian notion as spectacularly medi- ated content – such as media images and extravagant events – rather than the general process of mediation that for Debord propels the Spectacle. That is because we do live in a media saturated environment, but to the point in which How to cite this book chapter: Briziarelli, M. and Armano, E. 2017. Introduction: From the Notion of Spectacle to Spectacle 2.0: The Dialectic of Capitalist Mediations. In: Briziarelli, M. and Armano, E. (eds.). The Spectacle 2.0: Reading Debord in the Context of Digital Capitalism. Pp. 15–47. London: University of Westminster Press. DOI: https://doi. org/10.16997/book11.b. License: CC-BY-NC-ND 4.0 16 The Spectacle 2.0 the mediation logic that drives current conditions of life in many societies has gone beyond spectacular images, and is increasingly subsuming more spheres of social life to the total and integral Spectacle: capitalism. -
MAMCO DP 27Fev 2018 UK 1
M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M Die Welt als Labyrinth Art & Entertainment New Images Opening : Tuesday February 27 2018 – 6pm 10, rue des Vieux-Grenadiers, 1205 Geneva � � � � � � � p. 3 Press Release Die Welt als Labyrinth (3rd floor) p. 5 Introduction p. 6 Gil Joseph Wolman p. 8 Letterism and the letterist International p. 9 ”Cavern of Antimatter” / Modifications p. 11 SPUR / Situationist Times p. 12 Destruction of the RSG-6 p. 15 Ralph Rumney p.16 Movement for an imaginist Bauhaus Alba’s experimental laboratory p.18 Art & Entertainment (2nd floor) p. 20 New Images (1st floor) Other Exhibition p. 22 A Collection of Spaces p.24 L’ Appartement p.26 Informations and Partners M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M � � � � � � � � � � � � � Die Welt als Labyrinth Art & Entertainment Nouvelles images Opening : Tuesday February 27 2018 – 6pm 10, rue des Vieux-Grenadiers, 1205 Geneva Press Conference Tuesday February 27 2018 – 11am This spring, MAMCO has decided to turn aimed at art criticism (Piet de Groof’s action back to Letterism and the Situationist Inter- with Debord and Wyckaert against the gene- national, two artistic movements from Paris ral assembly of the AICA in Brussels), art mar- which occupied a very special place on the ket galleries (Jorn’s and Gallizio’s shows political horizon of May 1968.