Brink

Collapse

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Reblogged from CHRIS FREMANTLE:

Billy Klüver reminds us of Jean Tinguely’s work on collapse in Artists, Engineers, and Collaboration Klüver-Billy-Artists-Engineers-and-Collaboration (published in Culture on the Brink: Ideologies of Technology, A Manifesto for Cyborgs. Bender, G. and Druckrey, T. (Eds) Dia Center for the Arts, Discussions in Contemporary Culture Number 9. Seattle: Bay Press, 1994).

Jean Tinguely came to New York City in early 1960. On seeing the city for the first time, he decided to build a large machine that would violently destroy itself in front of an audience in a theater, throwing off parts in all directions.

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Speaking of collapse, Unclear Holocaust is a feature-length autopsy of Hollywood’s New York-destruction fantasy, gleaned from over fifty major studio event-movies and detourned into one relentless orgy of representational genocide. It is the unrivaled assembly of the greatest amount of capital and private property heretofore captured in one frame, that, with unfathomable narrative efficacy, suicides itself in an annihilatory flux of fire, water, and aeronautics.

 

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It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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Paul Kingsnorth’s new millenarian literary movement

Paul Kingsnorth, poet, environmentalist, journalist and author of Real England, attempts to kick off a ground-breaking new literary movement this month, The Dark Mountain Projectwith social-web frontiersman Dougald Hine. Its premise is a radical one;  if I represent it right, it’s that we are on the brink of catastrophe and it’s art’s reponsibility to face that, and to reflect it in its output. We have been telling the wrong stories. It is time to start telling the right ones:

We don’t believe that anyone – not politicians, not economists, not environmentalists, not writers – is really facing up to the scale of this. As a society, we are all still hooked on a vision of the future as an upgraded version of the present. Somehow, technology or political agreements or ethical shopping or mass protest are meant to save our civilisation from self-destruction. Well, we don’t buy it.

Kingsnorth and Hine have written a remarkable manifesto that’s well worth reading; it’s erudite, lyrical and, most of all,  apolcalyptic in an almost William Blake-ish kind of way, seeing civilisation treading on a “thin crust of lava” as the environmental catastrophe looms. Its eight principles of “Uncivilisation” include the following:

3. We believe that the roots of these crises lie in the stories we have been telling ourselves. We intend to challenge the stories which underpin our civilisation: the myth of progress, the myth of human centrality, and the myth of our separation from ‘nature’. These myths are more dangerous for the fact that we have forgotten they are myths.
4. We will reassert the role of story-telling as more than mere entertainment. It is through stories that we weave reality.

There is a growing debate here at the RSA Arts & Ecology Centre about the role of apocalyptic art in changing minds. We are fond of quoting Raymond Williams here, “that to be truly radical is to make hope possible rather than despair convincing”. If you want people to change, you have to offer them a way to a future that inspires them, rather than terrifies them. Pessimism convinces nobody.

But what if that act of making hope possible only bluntens the urgency of the situation, dissipates the urge to action?

Kingsnorth and Hine are looking for people to rally to the flag.

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