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Today's Topics:

   1. The Aesthetic of Our Anger? New Book on anarcho-punk
      (Stevphen Shukaitis)
   2. New Books Network: The Composition of Movements to        Come
      (Stevphen Shukaitis)
   3. DIVIDUUM book presentations UNAM México DF, Wolverhampton
      University, MIT Boston, New School New York City (eipcp info)
   4. Call for artists - Testimony - truth or politics (vahida)


----------------------------------------------------------------------

Message: 1
Date: Wed, 5 Oct 2016 17:56:18 +0100
From: Stevphen Shukaitis <stevp...@autonomedia.org>
To: transversal-l...@eipcp.net
Subject: [transversal] The Aesthetic of Our Anger? New Book on
        anarcho-punk
Message-ID: <93da7f45-905f-fd65-eed1-55418d730...@autonomedia.org>
Content-Type: text/plain; charset=utf-8; format=flowed

New book on the aesthetics of anarcho-punk released?

The Aesthetic of Our Anger. Anarcho-Punk, Politics and Music
Edited by Mike Dines & Matthew Worley

Punk is one of the most fiercely debated post-war subcultures. Despite 
the attention surrounding the movement?s origins, analyses of punk have 
been drawn predominantly from a now well-trodden historical narrative. 
This simplification of punk?s histories erases its breadth and vibrancy, 
leaving out bands from Crass to the Subhumans who took the call for 
anarchy in the UK seriously.

Disillusioned by the commercialization of punk, the anarcho-punk scene 
fought against dependence on large record labels. Anarcho-punk 
re-ignited the punk ethos, including a return to an ?anyone-can-do-it? 
culture of music production and performance. Anarcho-punk encouraged 
focused political debate and self-organised subversive activities, from 
a heightened awareness to issues of personal freedom and animal rights 
to the development of local cooperatives where musicians, artists and 
like-minded people could meet.

The anarcho-punk movement helped to reignite a serious anarchist 
movement in the UK and inspired actions challenging the Thatcher-Reagan 
axis. The Aesthetic of Our Anger explores the development of the 
anarcho-punk scene from the late 1970s, raising questions over the 
origins of the scene, its form, structure and cultural significance 
examining how anarcho-punk moved away from using ?anarchy? as mere 
connotation and shock value towards an approach that served to make punk 
a threat again.

Contributors: George McKay, David Solomons, Russ Bestley, Ana Raposo, 
Helen Reddington, Rich Cross, Matt Grimes, Pete Webb, Michael Murphy, 
Alastair Gordon, Mike Dines, Pete Dale, Steve Ignorant, and the Free 
Association.

PDF available freely online: http://www.minorcompositions.info/?p=791

Released by Minor Compositions, Colchester / Brooklyn / Port Watson
Minor Compositions is a series of interventions & provocations drawing 
from autonomous politics, avant-garde aesthetics, and the revolutions of 
everyday life.

Minor Compositions is an imprint of Autonomedia
www.minorcompositions.info | minorcompositi...@gmail.com

-- 
Stevphen Shukaitis
Autonomedia Editorial Collective
http://www.autonomedia.org
http://www.minorcompositions.info



------------------------------

Message: 2
Date: Sun, 9 Oct 2016 10:36:00 +0100
From: Stevphen Shukaitis <stevp...@autonomedia.org>
To: transversal-l...@eipcp.net
Subject: [transversal] New Books Network: The Composition of Movements
        to      Come
Message-ID: <8c30b1fc-e57d-febf-c66a-43f7e71b2...@autonomedia.org>
Content-Type: text/plain; charset=utf-8; format=flowed

Perhaps of interest for a lazy Sunday? me babbling on about my continued 
efforts to merge together autonomous class composition analysis with art 
historical / aesthetic considerations? cheers, stevphen

The Composition of Movements to Come
Aesthetics and Cultural Labor after the Avant-Garde
STEVPHEN SHUKAITIS, ROWMAN AND LITTLEFIELD 2016

October 5, 2016 Dave O'Brien
http://newbooksnetwork.com/stevphen-shukaitis-the-composition-of-movements-to-come-aesthetics-and-cultural-labor-after-the-avant-garde-rowman-and-littlefield-2016/


How is the notion of the avant-garde in art relevant today? What can 
contemporary social movements learn from the Situationists? What is the 
meaning of artistic value to forms of resistance? These, and many other, 
questions associated with the role of art in modern society are at the 
heart of The Composition of Movements to Come (Rowman and Littlefield, 
2016). Stevphen Shukaitis, a senior lecturer in work and organisation at 
the University of Essex, approaches these issues from an Autonomist 
Marxist perspective, thinking through a diverse range of issues, for 
example cultural labour, and practices, for example the art strike. The 
book also uses a range of artistic examples, including a detailed 
engagement with Neue Slowenische Kunst to think through the composition 
of movements to come. The podcast discusses a forthcoming exhibition of 
the work of Gee Vaucher at Firstsite in Essex, UK. The book will be of 
interest to critical theorists, as well as scholars from art, politics 
and social movement studies.


-- 
Stevphen Shukaitis
Autonomedia Editorial Collective
http://www.autonomedia.org
http://www.minorcompositions.info



------------------------------

Message: 3
Date: Thu, 13 Oct 2016 14:43:01 +0200
From: eipcp info <i...@eipcp.net>
To: transversal-l...@eipcp.net
Subject: [transversal] DIVIDUUM book presentations UNAM México DF,
        Wolverhampton University, MIT Boston, New School New York City
Message-ID: <ef0d567e-72eb-189c-6c56-8bef9afe9...@eipcp.net>
Content-Type: text/plain; charset="utf-8"; Format="flowed"

*Gerald Raunig**
/DIVIDUUM. Machinic Capitalism and Molecular Revolution///*
Semiotext(e) / MIT Press 2016
https://mitpress.mit.edu/books/dividuum 
<https://mitpress.mit.edu/books/dividuum>

Monday, October 17, 11 am, Museo Universitario de Arte Contemporáneo, 
UNAM México DF

Wednesday, October 19, 6.30 pm, Wolverhampton University
http://www.wlv.ac.uk/about-us/our-schools-and-institutes/faculty-of-arts/agency-and-crisis-scenes-from-political-philosophy-and-contemporary-art-conference-2016/

Monday, November 7, 6 pm, The ACT Cube, MIT Boston
https://architecture.mit.edu/art-culture-and-technology/lecture/dividuum

Wednesday, November 9, 6 pm, The New School, New York City
http://events.newschool.edu/event/gerald_raunig_present_dividuum_machinic_capitalism_molecular_revolution#.V_ZyZXrB-Dl


-- 
eipcp - european institute for progressive cultural policies
a-1060 vienna, gumpendorfer strasse 63b
a-4040 linz, harruckerstrasse 7

cont...@eipcp.net
http://www.eipcp.net | http://transversal.at

eipcp newsletter (i...@eipcp.net) - subscribe/unsubscribe: 
http://eipcp.net/institute/nl


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Message: 4
Date: Sat, 15 Oct 2016 00:50:39 -0500
From: vahida <vah...@irational.org>
To: eipcp info <i...@eipcp.net>
Cc: transversal-boun...@eipcp.net, transversal-l...@eipcp.net
Subject: [transversal] Call for artists - Testimony - truth or
        politics
Message-ID: <c6d368066c6ee29384c9bbe5751c7...@irational.org>
Content-Type: text/plain; charset="utf-8"

CALL FOR ARTISTS:
 TESTIMONY ? TRUTH OR POLITICS
 THE CONCEPT OF TESTIMONY IN THE COMMEMORATION OF THE YUGOSLAV WARS 

 The Center for Cultural Decontamination, Belgrade; The Ignorant
Schoolmaster and his Committees, Belgrade; The Museum of Contemporary
Art, Belgrade; are leading the artistic research, production of audio
artworks and the traveling exhibition in the project Testimony -- Truth
or Politics in cooperation with Boem, Vienna, Austria; Via Lactea,
Avelgem, Belgium; Observatory for the Balkan and Caucasus, Transeuropa
(OBCT Transeuropa) Rovereto, Italy; as well as academic institutions in
Europe. 

 Artists are invited to submit their proposals and additional material
for this open call by November 10th 2016. Selected proposals will be
announced through email by the November 20th 2016.

 The research for and production of the artworks will be conducted till
June 2017 and the final artworks will be presented in autumn 2017 in a
traveling exhibition in 4 countries --Italy, Austria and Belgium,
concluding at the Milica Zori? and Rodoljub ?olakovi? Gallery-Legacy of
the Museum of Contemporary Art Belgrade, Serbia.  

 The project is based on over 200 interviews done with war participants
and anti-war activists, in the years 2012-2014 as a part of the project
Naming IT War and additional interviews that will be done through this
project's duration. It presents two lines of intertwined research of the
concept of testimony in commemoration practices and the Yugoslav Wars of
the 1990s. It regards both interviews and the artworks reflecting on
these interviews as testimony. In this context the artists are invited
to study both the material side of the testimonies i.e. sound and voice,
their content and the political, economic, social and cultural context
at different key moments of the testimony i.e. the time of experience,
the time of testifying and the time of production of the artworks.

 PROJECT CONCEPT:
 25 years have passed from the beginning of the Yugoslav Wars. This new
war in Europe has shaken the perception that the structures built after
WWII will ensure a lasting peace. This project aims to increase the
production of knowledge capital, disseminating the realities of facts
about the wars - their participants, causes and consequences by
gathering testimonies from war participants and anti-war activists.
Reflecting on these testimonies through exhibitions and conferences will
emphasize the role of testimony as an act of active citizenship in
creating the historical narrative through public debate. During the
conflicts and afterwards, some testimonies were used by the official
establishment of each of the succeeding country, in the media, in
schoolbooks or historical exhibitions to justify its own national,
ethnic or religious position, while others that were not willing to
justify these positions were silenced through direct political
repression and through systematic erasure of the frame of reference that
relates these testimonies to the reality they presume to represent. That
precise testimony that points to the functioning of the system is the
testimony that Primo Levi defines as anti-fascist and as such political.
With Foucault we assume that the function of the intellectual is not to
lead the masses but to struggle against the barriers installed by
his/her peers which prevent these testimonies to be effectively heard in
the public sphere. Since the end of the wars, a new generation has grown
up that has no direct experience of war, and has been informed only
through these manipulated narratives. This project will show how
individual testimonies act as a critical force against officially
communicated history and reflect a common experience of these wars and
their consequences. Since witnessing is a participative act, testifying
is an act of speech with multiple addressees at once, in the least,
those relating to the situation testified upon, the situation of
testifying and a self-address which constitutes multiple speakers. The
simultaneity of time and space creates an ever changing assemblage of
singular-plural social relations, intimate and political, at work much
after the testimony has been given and anew each time it is heard. The
diversity of social relations at the base of testimony makes its
relation to reality, both that experienced and that in which testimony
is heard, complex. This makes it unstable for the purpose of the
listener whose demand is for The Truth i.e. a comprehensive meaning
which would constitute the person testifying as Subject and both
testifying and testified factual situations as Events. The artistic
research, exhibition and conferences will examine how reality emerges
from the plurality of testimony regardless of the different regulative
measures taken by the various listeners -- individuals, institutions,
theory, disciplines, ideologies and language itself -- in order to unify
speech.

 As mentioned above, the exhibition is focused on audio-works
(installations, composition, performance, etc.). Artists are invited to
work with voice and sound as well as with content so that the call
welcomes also artists who do not speak the language in which the
interviews were conducted.

 Artists are encouraged to conduct new interviews and include them in
the project alongside and in dialog with the existing ones.

 Interested artists are required to send the following:
 1.    Concept of the artwork and a preliminary timeline for realization
(1 to 3 pages A4); 
 2.    A draft budget;
 3.    CV/portfolio not to exceed 3MB, larger files should be sent via
Wetransfer with the reference stating the name of the proposed project;
 4.    The selected artist will be invited to participate in a 4-day
preparation seminar in the beginning of December in Belgrade, Serbia.
The seminar will include presentation the project Naming IT War and
other projects related to commemoration of the Yugoslav Wars, conceptual
discussion of Testimony as well as discussion with the artists of their
future projects.

 All materials should be sent by 10.11.2016, 00:00 CET to the email
address: 
 testim...@czkd.org.

 For access to the interviews and for any further information, please
contact: Zoran Eric, Noa Treister and Vahida Ramujkic
(testim...@czkd.org).

   
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