Sunday, October 23, 2011

Little wooden seats and the woman of his dreams


Little wooden seats and the woman of his dreams, 2006
Wood mdf, plywood, metal, lamp, cd, cd player, 2 speakers, amplifier.
Variable dimensions.

In the framework of the series Every Month selections from the museum’s permanent collections are presented from October 12th until November 30th on the mezzanine.
Little wooden seats and the woman of his dreams, 2006 by Kostis Velonis has been chosen as Work of the Month for October – November.

The theme of several of Kostis Velonis’ works deals with emotions such as desire, love, failure, loneliness, loss and melancholy. In the work Little wooden seats and the woman of his dreams, 2006 the artist deals with a love story between two historical figures and creates an intensely poetic work, giving a timeless dimension to the emotions of the love story that he “narrates”. Herodes Atticus after the wrongful death of his wife Aspasia Rigillis mourned so much that he decided to honor the memory of his wife by building the “Rigillis Conservatory” later renamed “Odeon of Herodes Atticus”. Velonis creates a sound installation consisting of a model of the Conservatory, on which he places a large wooden heart that lights up the space. The red light refers to the color of passion and attributes a dramatic element to the installation. On the last stand of the theater, the artist has placed two small stools of different size that refer to the two figures of his story, but also encourage daydreaming around imaginary relationships. In the surrounding space a cover of the song The first time ever I saw your face by Ewan MacColl is heard, sung by Johnny Cash. The special, deep and bass voice of the famous American singer and composer heightens the intensity of the drama and melancholy, while simultaneously bringing to mind the lament of MacColl for the loss of his wife, to whom he had dedicated this particular song in 1957. In Velonis’ sound installation the two stories of love and grief meet each other.

The red light refers to the color of passion and attributes a dramatic element to the installation. On the last stand of the theater, the artist has placed two small stools of different size that refer to the two figures of his story, but also encourage daydreaming around imaginary relationships. In the surrounding space a cover of the song The first time ever I saw your face by Ewan MacColl is heard, sung by Johnny Cash. The special, deep and bass voice of the famous American singer and composer heightens the intensity of the drama and melancholy, while simultaneously
bringing to mind the lament of MacColl for the loss of his wife, to whom he had dedicated this particular song in 1957. In Velonis’ sound installation the two stories of love and grief meet each other.

EMST National Museum of Contemporary Art, Athens
12/10/2011 - 30/11/2011

Bragg’s Law



Josephine Schuppang of Technical University in Berlin writes,

I was pointed to your blog when I talked to a friend about my newest tattoo. He told me that you are collecting scientific tattoos. I didn’t even know there were other people who did that sort of thing. You bet my tattoo artist looked strangely at me for my request.

So attached find a picture of my tattoo of Bragg’s Law. It is along the side of my left foot and shows nicely in my favorite pair of heels.

I studied Physics, and although I wanted to go in to Astronomy I got lost a bit and landed in Crystallography, which has a long history here in Berlin. Last year I wrote my thesis on the transmission electron microscopy of nitride semiconductors. After my defense I wanted to get a tattoo to remember this occasion. But all the formulas I did use were too long and complex to use, and all the images I took wouldn’t have worked.

So I decided on a fundamental formula, Bragg’s Law. It is important for electron diffraction, so that fits. And I have always liked the Bragg story, the father-son tag team of physics and the fact that William Lawrence Bragg was only 25 when they got their Nobel Prize.

http://blogs.discovermagazine.com

Revealed – the capitalist network that runs the world

AS PROTESTS against financial power sweep the world this week, science may have confirmed the protesters' worst fears. An analysis of the relationships between 43,000 transnational corporations has identified a relatively small group of companies, mainly banks, with disproportionate power over the global economy.

The study's assumptions have attracted some criticism, but complex systems analysts contacted by New Scientist say it is a unique effort to untangle control in the global economy. Pushing the analysis further, they say, could help to identify ways of making global capitalism more stable.

The 1318 transnational corporations that form the core of the economy. Superconnected companies are red, very connected companies are yellow. The size of the dot represents revenue (Image: PLoS One)

The idea that a few bankers control a large chunk of the global economy might not seem like news to New York's Occupy Wall Street movement and protesters elsewhere (see photo). But the study, by a trio of complex systems theorists at the Swiss Federal Institute of Technology in Zurich, is the first to go beyond ideology to empirically identify such a network of power. It combines the mathematics long used to model natural systems with comprehensive corporate data to map ownership among the world's transnational corporations (TNCs).

"Reality is so complex, we must move away from dogma, whether it's conspiracy theories or free-market," says James Glattfelder. "Our analysis is reality-based."
Previous studies have found that a few TNCs own large chunks of the world's economy, but they included only a limited number of companies and omitted indirect ownerships, so could not say how this affected the global economy - whether it made it more or less stable, for instance.

The Zurich team can. From Orbis 2007, a database listing 37 million companies and investors worldwide, they pulled out all 43,060 TNCs and the share ownerships linking them. Then they constructed a model of which companies controlled others through shareholding networks, coupled with each company's operating revenues, to map the structure of economic power.

The work, to be published in PloS One, revealed a core of 1318 companies with interlocking ownerships (see image). Each of the 1318 had ties to two or more other companies, and on average they were connected to 20. What's more, although they represented 20 per cent of global operating revenues, the 1318 appeared to collectively own through their shares the majority of the world's large blue chip and manufacturing firms - the "real" economy - representing a further 60 per cent of global revenues.


The Occupy Wall Street movement spreads to London (Image: Dave Stock)

When the team further untangled the web of ownership, it found much of it tracked back to a "super-entity" of 147 even more tightly knit companies - all of their ownership was held by other members of the super-entity - that controlled 40 per cent of the total wealth in the network. "In effect, less than 1 per cent of the companies were able to control 40 per cent of the entire network," says Glattfelder. Most were financial institutions. The top 20 included Barclays Bank, JPMorgan Chase & Co, and The Goldman Sachs Group.

John Driffill of the University of London, a macroeconomics expert, says the value of the analysis is not just to see if a small number of people controls the global economy, but rather its insights into economic stability.

Concentration of power is not good or bad in itself, says the Zurich team, but the core's tight interconnections could be. As the world learned in 2008, such networks are unstable. "If one [company] suffers distress," says Glattfelder, "this propagates."

"It's disconcerting to see how connected things really are," agrees George Sugihara of the Scripps Institution of Oceanography in La Jolla, California, a complex systems expert who has advised Deutsche Bank.

Yaneer Bar-Yam, head of the New England Complex Systems Institute (NECSI), warns that the analysis assumes ownership equates to control, which is not always true. Most company shares are held by fund managers who may or may not control what the companies they part-own actually do. The impact of this on the system's behaviour, he says, requires more analysis.

Crucially, by identifying the architecture of global economic power, the analysis could help make it more stable. By finding the vulnerable aspects of the system, economists can suggest measures to prevent future collapses spreading through the entire economy. Glattfelder says we may need global anti-trust rules, which now exist only at national level, to limit over-connection among TNCs. Bar-Yam says the analysis suggests one possible solution: firms should be taxed for excess interconnectivity to discourage this risk.

One thing won't chime with some of the protesters' claims: the super-entity is unlikely to be the intentional result of a conspiracy to rule the world. "Such structures are common in nature," says Sugihara.

Newcomers to any network connect preferentially to highly connected members. TNCs buy shares in each other for business reasons, not for world domination. If connectedness clusters, so does wealth, says Dan Braha of NECSI: in similar models, money flows towards the most highly connected members. The Zurich study, says Sugihara, "is strong evidence that simple rules governing TNCs give rise spontaneously to highly connected groups". Or as Braha puts it: "The Occupy Wall Street claim that 1 per cent of people have most of the wealth reflects a logical phase of the self-organising economy."

So, the super-entity may not result from conspiracy. The real question, says the Zurich team, is whether it can exert concerted political power. Driffill feels 147 is too many to sustain collusion. Braha suspects they will compete in the market but act together on common interests. Resisting changes to the network structure may be one such common interest.
The top 50 of the 147 superconnected companies

1. Barclays plc
2. Capital Group Companies Inc
3. FMR Corporation
4. AXA
5. State Street Corporation
6. JP Morgan Chase & Co
7. Legal & General Group plc
8. Vanguard Group Inc
9. UBS AG
10. Merrill Lynch & Co Inc
11. Wellington Management Co LLP
12. Deutsche Bank AG
13. Franklin Resources Inc
14. Credit Suisse Group
15. Walton Enterprises LLC
16. Bank of New York Mellon Corp
17. Natixis
18. Goldman Sachs Group Inc
19. T Rowe Price Group Inc
20. Legg Mason Inc
21. Morgan Stanley
22. Mitsubishi UFJ Financial Group Inc
23. Northern Trust Corporation
24. Société Générale
25. Bank of America Corporation
26. Lloyds TSB Group plc
27. Invesco plc
28. Allianz SE 29. TIAA
30. Old Mutual Public Limited Company
31. Aviva plc
32. Schroders plc
33. Dodge & Cox
34. Lehman Brothers Holdings Inc*
35. Sun Life Financial Inc
36. Standard Life plc
37. CNCE
38. Nomura Holdings Inc
39. The Depository Trust Company
40. Massachusetts Mutual Life Insurance
41. ING Groep NV
42. Brandes Investment Partners LP
43. Unicredito Italiano SPA
44. Deposit Insurance Corporation of Japan
45. Vereniging Aegon
46. BNP Paribas
47. Affiliated Managers Group Inc
48. Resona Holdings Inc
49. Capital Group International Inc
50. China Petrochemical Group Company

* Lehman still existed in the 2007 dataset used
Graphic: The 1318 transnational corporations that form the core of the economy

Text by Andy Coghlan and Debora MacKenzie
Source: www.newscientist.com
19 October 2011.

The world is a forgetful place

Is all memory technology an invitation to forgetting?

At the new, wonderfully overwhelming LA Review of Books, Casey Walker uses Joshua Foer’s “Moonwalking with Einstein” to raise the difficult question that seems to be at the heart of the recent study surveyed here on transactive memory, at the crux of this Radiolab segment, and at the nexus of much apprehension about the future of the internet.

As Casey writes:
“The world is a forgetful place. We cannot remember even what we wish to, what we’ve tried so hard to hold onto, our holy books and most famous writers and the terrain of the planet on which we live. Call it the Sebald problem: the mind is always lapsing into oblivion.”

And we worry that technology — once it was writing, now it’s computers — is aiding and abetting this dispersal of memory into oblivion. Rather than inviting us to forget, however, Casey points out that ever more complex technologies actually bolster the sort of “effortless” memory we rely on in our “more prosaic lives.” We don’t need to be “memory champions,” like the ones Foer aspires to imitate in his book (prodigies who can instantly recall umpteen digits of Pi) because we have technology that stores such information, leaving our minds free to learn and think and remember other things. Or, as Casey puts it, “We might remember less, but we still know more, which makes it hard to mourn the memory palace’s loss.”

The concern that technology is destroying our memory seems even more bizarre, bordering on the realm of paradoxical, since we simultaneously worry that data storage technology will never allow us to forget. As Jeffery Rosen wrote just last summer in a New York Times Magazine front page piece called, “The End of Forgetting,” forgetting has immense social value, but the advance of memory technology “increasingly means there are no second chances — no opportunities to escape a scarlet letter in your digital past.”

How are we supposed to make sense of the interaction between the web and memory if we believe that the Internet is pushing our memories into oblivion at the same time that we insist on our “constitutional right to oblivion” and “reinventing forgetting on the Internet”?

Wikipedia is the perfect embodiment of these conflicting anxieties. On the one hand, Wikipedia (plus a solid 3G or WiFi connection) offers a convenient source of transactive memory — we don’t need to carry random trivia around in our brains because Wikipedia will “remember” it for us. On the other hand, Wikipedia has the potential to present a biased documentation of biographical information that could prevent the sort of social forgetting Rosen was writing about. Thus, Wikipedia represents what we love and hate about computing technology all at the same time — instant access to unbridled information — suggesting that our continued efforts to make conclusive statements about the future of memory and technology are futile because it ignores the magnificent complexity of both.

We can embrace or denounce futuristic narratives about downloadable brains or the death of privacy at the (algorithmic) hands of online personalization, but it’s hard to imagine a future in which we don’t protect both our biological memory, no matter its shortcomings, and our privacy, no matter how much we seek transparent information.

In the great human story, it’s not the end of memory or the end of forgetting. The tale is still unfolding as our memories are adapting to technology and we are adapting technology to complement our memories.

Source: mneumozine.tumblr.com/
9 sept. 2011






Saturday, October 22, 2011

"Folkets Hus" - Local Labour Centers



..Known as "Folkets Hus" in Sweden, they have been built by the labour organisations to provide meeting halls. In this publication that i found today, there is the presentation of the local labour center of Kristianstad, 1964.
They vary in size, but the emphasis is at the modernization of the building with the help of co-operative building societies and the welfare state.



The Same Sad Rhetoric



The Same Sad Rhetoric, 2011
166 x 150 x 88 cm
Wood,acrylic.

Monodrome

The 3rd Athens Biennale 2011 MONODROME is considered the final part of a trilogy which started with DESTROY ATHENS 2007 and continued with HEAVEN 2009. Drawing upon the life and work of Walter Benjamin and inspired by his book by the same title (One way Street, 1928), MONODROME is curated by Nicolas Bourriaud and X&Y (Xenia Kalpaktsoglou and Poka-Yio, co-founders of the Athens Biennale). It is a narrative broadcasting from historical venues in the centre of Athens and articulating an imaginary dialogue between The Little Prince and Walter Benjamin. As the intellectual retreats defeated in the face of the escalated distress, the Little Prince keeps questioning this condition with the disarming innocence and the plainspoken boldness of a child.


MONODROME is being realized despite the Crisis that affects Greece heavily. Produced in a state of emergency, and through the synergy of all participants and a large group of volunteers, MONODROME assembles the diverse pieces of an exploratory puzzle, addressing the "here and now". At the same time the exhibition attempts to question historical narratives that have functioned as dictums of the Greek sociopolitical and aesthetic identity and resulted in the country's perennial suspension between a ‘before' (tradition) and an ‘after' (modernization). Being usually perceived and promoted as an emblematic city, Athens today is the epicentre of the Greek upheaval, a place of massive demonstrations and public discussions.

MONODROME aims to provoke debate around something that has broken down, but also offer the possibility at a glimpse of something new to come.

Participants: Bas Jan Ader, David Adler, The Angelo Foundation, Archisearch, Aristide Antonas,Badlands Unlimited, Vassili Balatsos, Kostas Bassanos, Hans op de Beeck, Filanthi Bogea, Pierre Bonnard, Yannis Bournias, Andrea Bowers, Vlassis Caniaris, Freddie Carabott, Paul Chan, Pantelis Chandris, Nikos Charalambidis, Marcus Coates, Ida-Marie Corell, Cultural Center of Olympic Airways Employees' (POLKEOA), Josef Dabernig, Daily Lazy, Mark Dion & Robert Williams, Jimmy Durham, Shannon Ebner, Sean Edwards, Elmgreen & Dragset, Matias Faldbakken, Floater, Robert Florey & Slavko Vorkapić, Sam Forsythe & New Forms of Life, Dimitrios Galanis, Liam Gillick, Jean-Luc Godard & Anne-Marie Miéville , Katerina Gogou, Vangelis Gokas, Jens Haaning, Vasileios Hatzis, Imagine the City, Yota Ioannidou & Teresa Maria Diaz Nerio, Georgina Kakoudaki & 4Frontal, Stelios Karamanolis & Toula Ploumi, Agni Katzouraki, Michalis Katzourakis, Kavecs Projects, Janice Kerbel, Kernel, Jakob Kolding, Nikos Koundouros, Panayiotis Lambrou, Julien Langendorff, "Leaking" Intervention, Esther Lemi, Lucas Lenglet, Norman Leto, Andreas Lolis, Tonis Lykouressis, Lucky PDF, Makis Malafekas, Caroline May, Vassilis Mazomenos, Metahaven, Tracey Moffat, "Neos Aristophanes", Periodical circa 1889-1894, Yannis Oikonomides, Henrik Olesen, Orizontas Gegonoton, Jean Painlevé, Rallou Panagiotou, Maria Papadimitriou, Rena Papaspyrou, Christos Papoulias, Vicky Pericleous, Paris Petridis, Phrixos, Julien Prévieux, The Public School, Józef Robakowski, Tom Sachs, San Francisco Actor's Workshop / Herbert Blau, Kostas Sfikas, Dionysis Sotovikis, Spyros Staveris, Studio Karamanolis, Fiona Tan, TANK TV, Yannis Theodoropoulos, Theophilos Hatzimichael, Harald Thys & Jos de Gruyter, Jalal Toufic, Under Construction, Yorgos Vakirtzis, Ino Varvariti, Vangelis Vlahos, We Never Closed, Uygur Yilmaz

3rd Athens Biennale 2011 MONODROME
23 October - 11 December 2011

Markets Can Be Very, Very Wrong

Muller, Mendelsohn, and Nordhaus have a new paper in the American Economic Review that should be a major factor in how we discuss economic ideology. It won’t, of course, but let me lay out the case anyway.

What MMN do is estimate the cost imposed on society by air pollution, and allocate it across industries. The costs being calculated, by the way, don’t include the long-run threat of climate change; they’re focused on measurable impacts of pollution on health and productivity, with the most important effects involving how pollutants — especially small particulates — affect human health, and use standard valuations on mortality and morbidity to turn these into dollars.

Even with this restricted vision of costs, they find that the costs of air pollution are big, and heavily concentrated in a few industries. In fact, there are a number of industries that inflict more damage in the form of air pollution than the value-added by these industries at market prices.

It’s important to be clear about what this means. It does not necessarily say that we should end the use of coal-generated electricity. What it says, instead, is that consumers are paying much too low a price for coal-generated electricity, because the price they pay does not take account of the very large external costs associated with generation. If consumers did have to pay the full cost, they would use much less electricity from coal — maybe none, but that would depend on the alternatives.

At one level, this is all textbook economics. Externalities like pollution are one of the classic forms of market failure, and Econ 101 says that this failure should be remedied through pollution taxes or tradable emissions permits that get the price right. What Muller et al are doing is putting numbers to this basic proposition — and the numbers turn out to be big. So if you really believed in the logic of free markets, you’d be all in favor of pollution taxes, right?

Hahahahaha. Today’s American right doesn’t believe in externalities, or correcting market failures; it believes that there are no market failures, that capitalism unregulated is always right. Faced with evidence that market prices are in fact wrong, they simply attack the science.

What this tells us is that we are not actually having a debate about economics. Our free-market advocates aren’t actually operating from a model of how the economy works; they’re operating from some combination of knee-jerk defense of the haves against the rest and mystical faith that self-interest always leads to the common good.

And they’re wrong, with every breath we take.

Text by Paul Krugman
Source: New York Times,30 Sept.2011

Clothed with the Sun.·.



Panos Tsagaris, Clothed with the Sun.·.
76x56cm, 2011.

October Tune

A stuffed quail
on the mantelpiece minds its tail.
The regular chirr of the old clock's healing
in the twilight the rumpled helix.
Through the window,birch candles fail.

For the fourth day the sea hits the dike with the hard horizon.
Put aside the book, take your sewing kit;
patch my clothes without turning the light on:
golden hair
keeps the corner lit.

Joseph Brodsky
(1968/translated by the author)

Friday, October 21, 2011

Au hasard Balthazar



Au Hasard Balthazar (1966)
Dir: Robert Bresson
Here is the final scene, very painful especially for all those viewers that have seen the film in the past.

As delicate as an ass’s bray

As delicate as an ass’s bray are the little lights which descend from the distant city inside you can’t pedal fast enough to get there and when you finally do catbirds have called it a day ears grow dim you are barely a sound so you head out again for the ring of trees.

Julia Story, 2011.

Sunday, October 9, 2011

Reconstructed Window with Frame



Det rekonstruerade fonstret med karm, foto I.Roth
Malmo, Sweden.

What Happens when a Leftist Philosopher Discovers God?

Society is the social science journal superbly edited by Jonathan Imber. In its fall issue it carries an article by Philippe Portier (Ecole Pratique des Hautes Etudes in Paris), entitled “Religion and Democracy in the Thought of Juergen Habermas”. Coincidentally, in a recent issue of the German news magazine Der Spiegel, Habermas is on a list of German celebrity intellectuals who pop up continuously in the media. (The list includes Margot Kaessmann, the Protestant bishop who resigned after being caught driving under the influence. Curiously, she only became a celebrity after this unfortunate incident.) Habermas has been a public intellectual (a more polite term for celebrity) for a very long time. I have never been terribly interested in Habermas, but the coincidence made me think about him. Portier’s article does tell an intriguing story. It might be called a man-bites-dog story.

Habermas is exactly my age. Our paths crossed briefly in the 1960s, when he was a visiting professor in the Graduate Faculty of the New School for Social Research, where I was then teaching. We did not particularly take to each other. I was put off by both his leftist politics and his ponderous philosophical language. (German philosophers, no matter where located on the ideological spectrum, vie with each other in producing texts which are comprehensible only to a small group of initiates.) I also sensed a certain professorial arrogance. I remember reading a response by Habermas to a critic, limited to the statement that he refused to discuss with an individual who quoted Hegel from a secondary source.

Habermas first received a doctorate in philosophy, but moved toward sociology under the influence of the neo-Marxist Frankfurt School, then acquired a second doctorate in the latter field under the fiercely Marxist Wolfgang Abendroth. In 1964 he became a professor in Frankfurt, as successor to Max Horkheimer, who by then was a neo-Marxist icon. Habermas was a hero of the so-called student revolution which erupted in the late 1960s. His students fanned out across West German academia, creating a network which for a while administered an effective ideological hegemony in the human sciences. At the time I found Habermas’ role in this rather objectionable. But I gave him credit for distancing himself sharply from the more radical wing of the student movement, as he later distanced himself from the anti-Enlightenment views of the postmodernists. In 1981 Habermas published his magnum opus, The Theory of Communicative Action, a strong endorsement of reason as the foundation of public life in a democracy. He retired from his professorship in 1993, but not from his role as an active advocate of Enlightenment rationality. It is debatable how far his more recent work still continues under a neo-Marxist theoretical umbrella. His views on religion have shifted considerably.

Portier distinguishes three phases in Habermas’ treatment of religion. In phase one, lasting up to the early 1980s, he still viewed religion as an “alienating reality”, a tool of domination for the powerful. In good Marxist tradition, he thought that religion would eventually disappear, as modern society comes to be based on “communicative rationality” and no longer needs the old irrational illusions. In phase two, roughly 1985-2000, this anti-religious animus is muted. Religion now is seen as unlikely to disappear, because many people (though presumably not Habermas) continue to need its consolations. The public sphere, however, must be exclusively dominated by rationality. Religion must be relegated to private life. One could say that in this phase, at least in the matter of religion, Habermas graduated from Marxism to the French ideal of laicite—the public life of the republic kept antiseptically clean of religious contamination.

Phase three is more interesting. As of the late 1990s Habermas’ view of religion is more benign. Religion is now seen as having a useful public function, quite apart from its private consolations. The “colonization” of society by “turbo-capitalism” (nice term—I don’t know if Habermas coined it) has created a cultural crisis and has undermined the solidarity without which democratic rationality cannot function. We are now moving into a “post-secular society”, which can make good use of the “moral intuition” that religion still supplies. Following in the footsteps of Ernst Bloch and other neo-Marxist philo-Godders, Habermas also credits Biblical religion, Judaism and Christianity, for having driven out magical thinking (here there is an echo of Max Weber’s idea of “ the disenchantment of the world”), and for having laid the foundations of individual autonomy and rights.

Habermas developed these ideas in a number of publications and media interviews. The most interesting source (not discussed by Portier in the article) is a 2007 publication by a Catholic press, The Dialectics of Secularization. It is a conversation between Habermas and Cardinal Joseph Ratzinger (at the time of this exchange head of the Congregation for the Doctrine of the Faith, subsequently Pope Benedict XVI). Habermas here gives credit to Christianity for being the purveyor of a universal egalitarianism and for an openness to reason, thus continuing to provide moral substance for democracy. Not surprisingly, Ratzinger agreed.

I am not sure what Habermas’ personal beliefs are. But I don’t think that his change of mind about religion has anything to do with some sort of personal conversion. Rather, as has been the case with most sociologists of religion, Habermas has looked at the world and concluded that secularization theory—that is, the thesis that modernization necessarily leads to a decline of religion—does not fit the facts of the matter. Beyond this acknowledgement of the empirical reality of the contemporary world, Habermas admits the historical roots in Biblical religion of modern individualism, and he thinks that this connection is still operative today. Yet, when all is said and done, Habermas now has a positive view of religion (at least in its Judaeo-Christian version) for utilitarian reasons: Religion, whether true or not, is socially useful.

Let us stipulate that smoking is unhealthy. Let us then assume that a tribe in some remote jungle believes that tobacco smoke attracts malevolent spirits. A public health official sent into the region does not, of course, share this superstition. But he makes use of it in dissuading people from acquiring a taste for newly available cigarettes—because he knows that some people do the right thing for a wrong reason. Eventually, he thinks, people will do the right thing for a better reason. And that will be the end of the demonological theory of tobacco smoke.

Any sociologist will agree that religion, true or not, is useful for the solidarity and moral consensus of society. The problem is that this utility depends on at least some people actually believing that there is the supernatural reality that religion affirms. The utility ceases when nobody believes this anymore.

Edward Gibbon, in chapter 2 of his famous history of the decline of the Roman Empire, has this to say: “The various modes of worship, which prevailed in the Roman world, were all considered by the people, as equally true; by the philosopher, as equally false; and by the magistrate, as equally useful”. When you cross the philosopher with the magistrate, you get Habermas.

Text by Peter Berger
Source:blogs.the-american-interest.com/berger

Saturday, October 8, 2011

Little gardens of happiness

TAF is pleased to present the exhibition Little Gardens of Happiness, which opens on Thursday, November 10 and will run until December 11, 2011. The exhibition is curated by the students of the Curating and Organizing Art Exhibitions seminar, part of the Athens College – College of Psyhiko adult continuing education programmes, and is led by curator and art critic Marina Fokides.
“Near to the sorrow of the world, and often upon its volcanic earth, man has laid out his little gardens of happiness;” Guided by the words of Friedrich Nietzsche, the curators attempt to pose timely questions regarding the possible ways in which societies react in times of crisis.
Man has the inherent tendency to voluntarily create for himself personal microcosms; small, intimate utopias that safeguard his remaining shreds of happiness. This personal space seems to operate as a symbolically protected garden – shelter. Sometimes however, these gardens transform into a personal hell where the individual feels isolated.
To what extent do these personal universes offer relief, to what extent do they cause terror and how extreme can they become? In this present time of uncertainty the little gardens of happiness can operate as spaces of self-organization and reevaluation, as sources of contrivance and as spaces of invention and mental formation and help us provide answers to the questions posed by reality itself.
Giorgos Panousopoulos’ film Mania will be shown as part of the exhibition.
Participating artists:
Stathis Athanasiou, Steven Antonakos, Kostis Velonis, Nikos Giavropoulos, Vangelis Gokas, Eunomia Dimitriadou, Theodoros Zafiropoulos, Christos Kolios, Giorgos Korbakis, Alexis Kiritsopoulos, Leda Luss Luyken, Vally Nomidou, Zafos Xagoraris, Giorgos Panousopoulos, Marie-Françoise Poutays, Marina Provatidou, Xenis Sahinis, Dimitris Tsoublekas, Pantelis Chandris, Manolis Charos, Alexandros Psihoulis, En Flo, Organization Earth
Curators:
Fotini Vergidou, Pinelopi Katsatou, Evangelia Melissourgaki, Poulheria Papageorgiou, Eleni Papagiannopoulou, Calliope Stamatacou

Exhibition opening: Thursday 10 November 2011, 20.30
TAF Gallery, Athens.

Friday, October 7, 2011

Junta Aesthetics

“The vision is but one. It is well known, it is certifiable, it is the vision of Greece. The Greece of Greece. Greece which will be for the Greeks their lives, their purpose. And it will be asked: What is the form of the vision?
G. Papadopoulos in the newspaper Eléftheros Kósmos, 10-2-68.


Bost’s cartoon for the Nation's Vow.Magazine "Anti".

35 years after the restoration of democracy the military regime is still remembered as imposing a particular aesthetics of its own devising. As Káti to Oréon, published by the friends of ANTI magazine who experienced the Junta, aptly reminds us, “Vulgarity, pomposity, militarism and continually atrocious taste marked the events and language of the dictatorship of the 21st of April.” Those not yet born at the time mainly experience this seven year period through television and are likely to associate it with a few select moments—black and white footage of celebrations of “the military Glory of Greece,” for example, or Papadopoulos’s famous words: “Hellas is a patient who needs to be placed on the operating table.” But what might proceed from a recognition that the aesthetics of the Junta have a history prior to the Junta, that in fact the Junta institutionalized an aesthetics already in place and already quite popular? Small-scale re-enactments of the diachronic virtues of Hellenism on the occasion of national celebrations were popular at schools throughout the 20th century. The usage of a certain language as indicative of a preference for the extreme right certainly pre-dates the 21st of April, while the origins of architectural projects of national grandiose such as the Táma tou Éthnous can be traced to the beginning of the 19th century, the Epanástasi, and the years of the King Otto. There is also much more to the aesthetics of this period than what is publicly remembered and discursively allowed to be expressed. The fact that prominent figures of Greek public life—Aliki Vougiouklaki, Dimitris Papamichail, Kostas Voutsas, Viki Moscholiou, Evangelos Papanoutsos, Ilias Lalaounis, and Konstantinos Doxiadis to name a few—participated in the public production of a certain aesthetics during the Junta raises an important question: How do we regard the professional activities of individuals in times of non-democratic rule? Along which lines is the history of the recent past produced? If certain figures are stigmatized for empowering a military regime by virtue of continuing to work, why is such stigma largely absent from their contemporary biographies?



This panel discussion on the aesthetics of a painful period attempts to address these questions by exploring the case of those who did not resort to silence, did not choose self-imposed exile, but continued to live and work in Greece during the dictatorship. It brings together two artists and two academics (a presenter and a panel discussant) working across media (literature, video art, photographic essay, and ethnographic paper) to facilitate a dialogue between contemporary art and modern Greek studies as well as a larger discussion on the Junta, its culture, and its continuous divisive impact on Greek society. Untitled (The Remake) 13 min.
The panel commences with the screening of Untitled (The Remake). This is a single channel video installation investigating Junta aesthetics through the use of archival material from the years 1967-1974, a detailed reconstruction of Studio B of Τ.Ε.Δ (Television of the Armed Forces) and the artist’s own video footage. The video commences with official celebrations, festivities and parades in the Athens Marble Stadium and then depicts preparations for an evening broadcast. Three actors enact the final preparations of two newscasters and a cameraman minutes before they go “on air.” In the background, monitors show international news and original black and white footage of the real newscasters getting ready for the broadcast. The video’s structure encourages a range of theoretical explorations and attributes multiple interpretations to its title: Remake. It reminds us of the historical moments out of which Greek Television was born, while also commenting on the possibility of reality reconstruction, the fundamental role technology plays in this process, a dictatorial regime’s propaganda mechanisms and the ways in which reality is documented and presented in the news.


Kostis Velonis, The Nation's Vow-Ταμα του Εθνους, Ongoing project(detail), 2011

The Nations Vow: Part I (ethnographic essay) and Part II (photographic essay)
Following the screening of the Remake, the panel presents the preliminary findings of a research project undertaken by an anthropologist and a visual artist concerning the Táma tou Éthnous (The Nation’s Vow). The term refers both to a collective vow and to a (unrealized) church that Greek notables promised to construct in the early years of the Epanástasi. Almost a century and a half later, the idea of fulfilling the old vow was revived by the military regime, which launched several architectural contests, established a special fund, and organized fundraising campaigns.



The junta’s conception of the project was first articulated in documents introducing the architectural competitions (later mocked by ANTI for their incoherency and particular writing style). Eventually this enterprise drew the interest of shipping magnets, businessmen, artists, architects, and engineers.



Konstantinos Doxiadis, for instance, obsessed with the Táma as early as 1964, produced plans, models, and monographs elaborating on the significance of the Nation’s Vow and the steps to be taken towards its fulfilment, while jewellery designer Ilias Lalaounis published newspaper articles in which he proposed a particular architecture for the Táma inspired by a study of the dome of St Sophia. The ethnographic paper and the photographic essay (i.e. two approaches to the same theme) explore the controversial story of this endeavour by revisiting developments in 20th century modernist architecture and presenting oral accounts (e.g. interviews with Stylianos Pattakos) and archival material (ranging from topographical maps produced by the National Technical University to Bost’s cartoons).



In this way the project inquires into an unrealized government enterprise that would have radically altered the Athenian landscape, may well have marked the end of modernism in Church construction, sheds light on a peculiar conception of nationhood as articulated in the proposed architecture of the Táma and poses a question concerning the mechanisms that block large scale state initiatives: Why was the Táma never built?

MGSA Panel Proposal
Participants: Kostis Kornetis (Brown University) Dimitris Antoniou (organizer, University of Oxford), Stefanos Tsivopoulos(ISCP NY International Studio Curatorial Program), Kostis Velonis (University of Thessaly, IASPIS, Sweden)
The 22nd Biennial MGSA Symposium is being held at
New York University
October 13-16, 2011.

Saturday, October 1, 2011

Easy Exotic

There is at least three modes of travel, and most trips contain a blend of all three. You can graph the three extremes as three corners of a Travel Triangle: Relaxation, Destination, and Experience. The ideal trip would have an equal balance of all three, but most trips favor one side over the others. In my own personal travel I favor experience and destination and have almost no interest in relaxation. Your mileage may vary.




he three extremes represent a set of overlapping qualities.

Experience includes learning, change, difference, passions, uncertainties. A trip in this corner emphasizes encountering strange things, having your mind changed, going beyond your comfort, meeting as much otherness as you can.

Destination includes traveling with goals and achievements in mind -- completing a long thru-hike, or journey to a mountain peak, or all the state capitals, or completing a race, to be the first, or your personal best.


Relaxation is just that: rest, comfort, renewal, a sabbatical, a retreat from the worries and business of everyday life. It may include luxury but might be primitive or primeval.

Because I am deeply attracted to experience and learning, I find myself heading toward the exotic in my travels. Whenever I have a chance, I want to go to the most different place I can get to the fastest. And I rarely want to return to where I've been. In the relaxing mode of travel, returning to the same place is a large part of what makes it relaxing, even deeply comforting. The "family place" is of this type of renewal. In general this kind of restful vacation does not re-charge my batteries. I need to be squeezed by new things, rubbed hard with differences, and moved by something I did not expect. So in my travel I try to optimize "otherness." I am not looking for discomfort per se, or just roughing it, an outright death-defying adventure. That's a bit more destination and goal oriented than my fancy. In fact, learning does not have to be done out in the rain. You can journey to otherness without making it an endurance race. That's a balance I look for: trips that maximize experiences without requiring a focus on just the experiences of moving, racing, overcoming, winning, and achievement.

Accessible exotic is possible. I have my favorite places where I can fly into an international airport and then within a few hours swim in a total different culture offering alien lessons. A lot of these spots are in Asia, but also in other corners in the world. The picture below was taken in a place that is no longer so accessible. But when I took this picture of goat ball game (buzkashi) in Afghanistan, I was not flying in a helicopter. Rather I had taken a $2 public bus ride to a town in the north and followed the crowds to the edge of town and was sitting on a hillside with hundreds of others watching the Friday games. It was easy and exotic. The easy exotic is not hard to find, and so immensely rewarding when touched. Easy exotic is a place you should be able to reach within 24 hours or less from your front door. And it should reveal to you at least 5 things within the first day, or next 24 hours, that cause you to smile in amazement, and wonder at the nature of humans.

Where would you go?



Source: www.kk.org/thetechnium
26 April 2011

Tuesday, September 27, 2011

American Progress


John Gast, "American Progress," 1872.

This painting shows "Manifest Destiny" (the religious belief that the United States should expand from the Atlantic Ocean to the Pacific Ocean in the name of God). In 1872 artist John Gast painted a popular scene of people moving west that captured the view of Americans at the time. Called "Spirit of the Frontier" and widely distributed as an engraving portrayed settlers moving west, guided and protected by a goddess-like figure of Columbia and aided by technology (railways, telegraphs), driving Native Americans and bison into obscurity. It is also important to note that angel is bringing the "light" as witnessed on the eastern side of the painting as she travels towards the "darkened" west.
Source:wikipedia

Friday, September 23, 2011

A Rock and a Hard Place

The 3rd Thessaloniki Biennale of Contemporary Art, under the general title "Old Intersections-Make it New", is focused on the Mediterranean region, the culture and its people, viewed through a contemporary visual outlook. This year's Biennale comprises a main and a parallel programme including exhibitions, an international young artists' workshop, a performance festival, a symposium and a variety of artistic events, building up in every part of the city. Director: Katerina Koskina, SMCA President

This Biennale is the first joint venture of the "5 Museums' Movement in Thessaloniki"(5M) consisted of the Archaeological Museum of Thessaloniki, the Museum of Byzantine Culture, the Macedonian Museum of Contemporary Art, the Teloglion Foundation of Art AUTh and the leader of the project, the State Museum of Contemporary Art-Costakis Collection. It is also part of the "Thessaloniki: Cultural Crossroads" programme of the Hellenic Ministry of Culture and Tourism, focussing this year on the Middle East, and running under the City of Thessaloniki, Department of Culture, Education and Tourism, 9th Ephorate of Byzantine Antiquities, and other cultural and educational partners jointly.


Ilya Chashnik, Suprematist Cross, 1923

"A Rock and a Hard Place"

The programme derives its inspiration from the city, as a metaphor of the powerful multicultural character of its past history. Each and every one of the biennale venues (5 historical monuments and 5 museums) constitutes an episode of the all-embracing narrative. These episodes are inspired both by the former and the current use of these buildings, by the past and contemporary contribution to the social life and political game of the city, and the artists and the works hosted have been chosen within this particular framework.

Venues: Alatza Imaret, Archaeological Museum of Thessaloniki, Bey Hamam, Museum of Byzantine Culture, Casa Bianca, Contemporary Art Centre of Thessaloniki, Eptapyrgio, Macedonian Museum of Contemporary Art, State Museum of Contemporary Art, Teloglion Foundation of Art-AUTh.
Artists: 98 Weeks, Mounira Al Solh, Archive (Francesca Boenzi, Paolo Caffoni, Chiara Figone, Ignas Petronis), Francis Alÿs, Arab Image Foundation, Rasheed Araeen, Athanasios Argianas, Katerina Athanasopoulou, Alexandra Bachzetsis, Manfredi Beninati, Christoph Büchel, Pierpaolo Campanini, Vlassis Caniaris, Spartacus Chetwynd, Cinemathèque de Tanger, Keren Cytter, Christina Dimitriadis, Thomas Dworzak, Yasmine Eid-Sabbagh (in collaboration with Arab Image Foundation), e-flux projects (Julieta Aranda & Anton Vidokle), Andreas Embirikos, Mounir Fatmi, Emmanuel Finkiel, Penelope Georgiou, Yannoulis Halepas, Steven C.Harvey, IKONOTV, Mahmoud Kaabour, Dionisis Kavallieratos, Ali Kazma, William Kentridge, Alexander Kluge, Panos Koutroubousis, Nikolaj B.S. Larsen, Solon Lekkas, Sifis Likakis, Katariina Lillqvist, Zeina Maasri, Margherita Manzelli, Irini Miga, Moataz Nasr, Bruce Nauman, Olaf Nikolai, Pavlos Nikolakopoulos, Jockum Nordström, Pantelis Pantelopoulos, Alessandro Pessoli, Michail Pirgelis, Angelo Plessas, PRISM TV (Nikos Katsaounis & Nina Paschalidou), Imran Qureshi, Jean-Marc Rochette, Marwan Sahmarani, Yiorgos Sapountzis, Hrair Sarkissian, Yehudit Sasportas, Alberto Savinio, Tayfun Serttas, Ahlam Shibli, Slavs and Tatars, Socratis Socratous, Christiana Soulou, Naoko Takahashi, Ryan Trecartin, Kostas Tsioukas, Andreas Vais, Nanos Valaoritis, Kostis Velonis, Pae White, Constantinos Xenakis.
The archive of George Lykidis and selected archives of "The Hellenic Literary and Historical Archive" will also be shown.

Old Intersections-Make it New
3rd Thessaloniki Biennale of Contemporary Art
Thessaloniki, Greece
18 September–18 December 2011

Curators: Paolo Colombo, Mahita El Bacha Urieta, Marina Fokidis
Architect: Andreas Angelidakis

State Museum of Contemporary Art
www.thessalonikibiennale.gr
www.greekstatemuseum.com

Wednesday, September 14, 2011

On Theatre and Democracy

Recently, my friend (and amazing playwright/actor) Ellen McLaughlin sent me the commencement address she'd written for the students at A.R.T. This address came out of their collaboration on Ajax In Iraq, a harrowing play about the trauma of the Iraq war mirrored through the story of Ajax.The address itself looks at the twin births of theatre and democracy in Athens, and how the gift of empathy from the former enabled the creation of the latter. For me, it further articulates some of the ideas living here, and continues the difficult work of talking about value begun here. It is an eloquent, moving call for theatre makers to consider our essential responsibility to civic life.The address is 15 pages in total - it begins with words specific to the occasion, and ends with contextualizing the central ideas within the opportunities of our current political climate. I have excerpted (with her permission) pages 4-11, which constitute the heart of this particular agon. Please read and respond with your own thoughts!"Don’t forget that when you’re feeling flattened and thinking why oh why did I choose this ridiculous, humiliating profession? Remember what you’re really part of when you’re engaged in a life in the theater. Times like that, you might find it heartening to think about the Greeks, because they basically came up with the profession you’re entering into, and while they were at it they came up with, well, Western civilization. And they did it at about the same time, in the same city and with the same hammer and nails. Theater seems to have come first, but not by all that much. The city of Athens birthed two extraordinary local creations: democracy and theater. And essentially she gave birth to them as twins. Coincidence? Probably not, as anyone who has ever worked in the theater can attest. Theater, like democracy, by definition can only be done in collaboration. Both must be responsive to the needs of the moment, and they happen in the present tense. Both are done on the breath, in public; both are dependent on speech and the mysterious human grace of empathy. They must happen right now, in front of us, and we all share the same air.The Greeks didn’t come up with the rudiments of theater: ritual and storytelling. Remnants of early Greek civilizations show us what we see everywhere in the beginnings of human societies: people dancing and singing, often in groups, telling stories and talking about gods and heroes. The innovation happened when one particular singer or speaker--tradition has named him Thespis--became what we must call the first theater artist when he turned from the people watching him and spoke to another person on the stage, who could then respond in kind. Something momentous and essential to theater was created in that moment: dialogue. Greeks called that splitting of voice in dialogue or debate the agon, and once they’d invented it,they fell head over heels in love with it. Ultimately, they would use the agon for everything and everywhere, from classrooms to courtrooms to halls of government, but its first home was the theater, and there it defined the form. Without agon or dialogue, what’s happening on the stage may be many things, but it’s not theater. It’s ritual, it’s storytelling, it’s one voice speaking one authoritative truth to a passive audience. It’s a useful form, and we need it. (I need it right now.) But it ain’t theater. Because when dialogue enters the world, something profound changes in the dynamic with the audience. I like to think that when Thespis broke all the rules and spoke to another actor, everyone watching sat forward for the first time, and they’ve been sitting forward ever since. Because suddenly they had a job to do. Much would be asked of them. Theater, like democracy, makes demands. We, as an audience, have to do more than show up and get our orders. Theater turns an audience into citizens instead of just spectators. With the advent of dialogue, the truth no longer belongs to any single speaker. The truth must be found in the exchange. An audience has to follow the agon, the debate, enter into a sympathetic understanding with one speaker and then another, try out each position in order to discover what’s really going on. It’s confusing. There are times when everyone seems to be right, just as there are times when no one in the forest of voices is saying what needs to be said and it’s everything we the audience can do not to warn the actors on the stage or comfort them or just yell at them for being so blind to the truth that would be apparent to them if they were only sitting outside it as we are, listening to the agon and watching the mess onstage.This is what theater looks like, but it’s also what democracy looks like. The theater teaches us that the validity of ethical principles, beliefs, and laws must be debated in full view of everyone concerned, in the open air of the public space. Theater teaches us that the struggle to make sense of things is what we are here to do. And we must do it together if we are to do it well. It is our work. And we do it in public.There is a kind of brilliance to the light in Greece that you don’t find elsewhere. Something about the angle of the sun. Things are simply more visible there than they are anywhere else. So it’s not surprising that Greek thought is filled with notions of visibility and hiddenness.Ajax himself, not exactly an introvert, has a speech about how it is inevitable that all things will come to light eventually. For the Greeks this was not just an unavoidable truth, it was something of an injunction. “Know thyself” was the singular command and warning of the Delphic oracle, after all. Whether we will or not, the truth insists itself. It wants to be known.Our natures are mysterious and terrifying. We all know this. There is a personal darkness we are familiar with inside us, even if we have never had to stare it in the face. We can shut it deep within us, but we’ve heard it thumping around in there on quiet nights when we are alone with the worst of ourselves. We all need help with that. The Greeks had this rather outlandish notion that if we could see ourselves from the length of an auditorium, look at ourselves outside ourselves, as played by actors, doing the awful things that we, human beings, know we are capable of doing, and suffering the worst that we can imagine, we might be purged of our own darkness by the terror and pity such experiences in the theater provoke in us. It’s not surprising that theater festivals were frankly religious events for the Greeks. That ancient notion that there is a spiritual component to what happens in theaters won’t strike this crowd as odd, I trust; there’s a reason so many here have chosen this profession. We’ve all felt it, onstage and off, that transformative thing that can happen as we watch actors, those intimate, necessary strangers, acting for us and as us out there in the merciless light.What are actors after all? You are the spelunkers. The rest of us are standing in the open air above the ground, trying to guess at what’s beneath our feet—all that scary unfathomed darkness and intricacy and danger. Playwrights come up with maps of what we can make out of the hidden terrain beneath, but we give them over to the actors because actors are the ones who will strap on the headlights and throw the coiled ropes over their shoulders and go down into the deeps for us and thread their way through that blackness to find out what’s really there. We call them actors because they act for us. They venture into other selves and show us what they find. There are bumper stickers that say something like, “Got freedom? Thank a soldier.” I would suggest we campaign for a bumper sticker that says, “Got self-knowledge? Thank an actor.”Of all the things the Greeks teach us, perhaps the most essential for our purposes today is that there are worse things than failure. If I could give you only one piece of advice today it would be to live by their example and risk failure. Just look at those plays. Look at the size of what they are grappling with—they’re sounding the depths of what it is to be human; time and again, the dilemmas they pose just seem impossible to contend with, yet they take them on. These are plays of astonishing ambition and they never cease to humble me and inspire me to reach farther and risk more as an artist. Why not try to address the hardest things? The alternative is to make nice, neat plays that offend no one and do nothing much because they don’t attempt anything much. Why not risk failure and try to make, well, art? What is stake other than the size of my soul?Finally, I want to talk about empathy. The Greeks didn’t invent it, but with the creation of dialogue, they came up with a form that demands it and makes a home for it. With the invention of dialogue, an audience can move freely from one mind to another on the stage, entering different perspectives and judging their validity by holding them one by one against our own hearts. We must empathize in order to make sense. I have to put myself in her shoes, then his, then hers, and through that radical spiritual exercise I arrive at a new understanding of the world that I simply can’t reach when such demands are never put upon me. And the Greeks don’t make it easy for you. Often the characters who at first glance seem to be obviously in the right, or out of it, become figures of ambiguity or disturbing familiarity and pathos when we bring the force of empathy to bear upon them. Hundreds of years of use and scholarly analysis of these plays and still they defy reduction. They work an audience hard and wrack our hearts as we feel through them, searching for ethical balance as we struggle to find it in our own lives.But that’s what civilization asks of people. It asks them to work. Civilization doesn’t let us get away with waiting passively to be told what to think. We have to engage with dialogue and connect with one embodied truth and then another and another. With the invention of dialogue, I realize that your pain is my pain because I am free at last to feel it. And as a participant in the world, as a citizen in this civilization, it is my right and my duty to feel it.It is the act of empathy that teaches us how to be civilized. It is the act of empathy, which the invention of theater taught the people of ancient Greece, that makes civilization possible because it makes democracy possible. If you can learn, through the theater, what it is to leap empathetically out of the tiny circle of your own needs and concerns and enter into the souls of those apparently different from you, then you realize that the sufferings and desires of others are like your own. In theaters, we feel through the human dilemma together, in collaboration and breathing the same air. Here and now, we learn to make it up as we go along with this new knowledge of the connection between us.It’s a strange profession you’ve chosen and no mistake, this alchemical business of what happens when one actor on a stage turns to another. So remember that when you engage in making theater, you are engaging in the business that began it all.You are making civilization."

Ellen McLaughlin, excerpted from her 2009 Commencement Address to the students A.R.T.

Source:http://fluxtheatreensemble.blogspot.com

Tuesday, September 13, 2011

Building the Stage


Staging the people (Hotel Grande Bretagne, Athens-Syntagma,1972)
“Building the Stage”Omikron Gallery, 14 Sept-October Nicosia, Cyprus

Wednesday, September 7, 2011

Beaker Depicting Lamb of God



Beaker Depicting Lamb of God,1598
Glass, enamel
Germany (Bohemen)
Museum Boijmans Van Beuningen, Rotterdam

About the Pool

The pool was imaginary. The pool came and went away, according to the girl’s moods. It served as the focal point for all her fantasies. She spent whole summers there, languishing in a demure bikini, leafing through fashion magazines and dog-eared coming of age novels. The girl tasted her first beer at the pool; it’s where she practiced losing her virginity. It’s where she sat on early autumn nights, dangling her feet, tracking the moonlight as it moved beneath the water. The pool had a lot to recommend it. It required minimum maintenance. It remained serenely blue in every season, even when the girl forgot its existence. The pool could accommodate any number of guests, any combination of events, but on most days, it held only the girl, and her thoughts, and the slight weight of her desires. The pool bore all these things gracefully. They swirled along its surface, swimming alongside the dead leaves and jaunty flotation devices.

Gillian Devereux

Ou.Un.Po.




Tassos Vrettos pictures from the Eleusys archaeological site during the collective performance of the Klas Eriksson and the performance by Fatos Ustek and Per Huttner.

"Worlds have a longer life than deeds". Pyndaros

Ouunpo is a three days symposium that will take place in various locations across and around the city of Athens through conventional and non-conventional investigations. The symposium, dedicated to the “oral tradition”, will include performance, round-table discussions, lectures, screenings, visits and walks to various selected sites.

Greece is a country where myths, art, epic and lyrical songs originated from oral tradition and kept alive by travelling poets. This country is also in the limelight due to the current political and economical crisis.
Our visit will be an occasion to investigate the tradition of storytelling and myth as a form of sharing knowledge and performing history, which often stand in opposition to the methodology of institutions. We will try to re-evoke the oral memory of events in contemporary (art) world, with a specific approach to the rituality and the improvisation that are always connected to oral narratives. Performance and initiation to a secret knowledge will be also the objects of our conversations with members of the esoteric milieu and of the masonic lodge.
Inspired by the great religious, theatrical, democratic and artistic traditions of Greece, and in dialogue with local artists, musicians, composers, art historians and curators,we will observe the present moment, and reflect about how a genuine revolutionary movement needs to brake with literal repetition of the past.

Loukia Alavanou, Episodio 3, 2011

To perform something means to interpret it, to betray it, to distort it. Boris Groys affirms that “the opposition between living spirit and dead letter informs the whole traditional Western discourse on religion”, but also on art itself, as embodiment of the creative spirit of change.

The program of the Ouunpo symposium is proposed by Vanessa Theodoropoulou in collaboration with Nadja Argyropoulou.

Members of Ouunpo are : Jacopo Miliani, Meris Angioletti, Raimundas Malasauskas, Marco Pasi, Paola Anziche’, Per Huttner, Alessandra Sandrolini, Yane Calovski, Klas Eriksson, Fatos Ustek, Elena Nemkova, Natasha Rosling, Stephen Whitmarsh.
Invitees of the Symposium are : Georgia Spiropoulos (composer), Sasha Chaitov (MA western esotericism and director of Phoenix Rising Academy) with Iordanis Poulkouras (…), Saprofyta, Marios Chatziprokopiou (artist), Kostantinos Dagritzikos (curator, Six Dogs), Stefanos Rozanis (writer and philosopher), Yianna Tsokou (Professor of Theatrology at the University of Thessaloniki), Chiara Fumai (artist), Nanos Valaoritis (poet and writer).

29th Sept.
Visit to the island of Aegina and to the temple of “Aphaea”.
30 Sept.
Athens, DESTE foundation: Meeting with the poet Nanos Valaoritis and with Stefanos Rozanis, writer and philosopher. Presentation of the project “Saprofyta” by Nadja Argyropoulou (curator of “Hotel Paradies”, Athens Biennial 2009) Yorgos Tzirtzilakis, Malvina Panagiotidi.

Eleusys : Visit to the archaeological site. Collective performance directed by artist Klas Eriksson. Performance by Fatos Ustek and Per Huttner. Artist Marios Chatziprokopiou presents the screening of the film by "Agelatos Petra" by Filippou Koutsaftis. Visit of the temporary exhibitions of Stephen Antonakos and Loukia Alavanou, screening of the work of artists Panagiotis Loukas and Panos Tsagaris.

1rst of Oct.
Athens : Visit to the Greek Masonic Lodge and to its temple. Presentation by Iordanis Poulkouras and Sasha Chaitov, Director of Phoenix Rising Accademy, about "The Eleusinian mysteries through the ages. Initiatory practices in the Western esoteric tradition and their role in modern art and theather".

Panos Tsagaris, 2011.

17.50 Athens, Six Dogs space, in collaboration with curator Kostantinos Dagritzikos: Composer Georgia Spiropoulos will present her work focusing on the relationship between written and oral tradition, on improvisation and composition. She will also introduce us to Yianna Tsokou, Professor of Theatrology at the University of Thessaloniki, with whom she will talk about the ancient Anastenaria rituals. Presentation, discussion and concert.

29 September – 2 October 2011

Holy Mountain (The White Geometry of Winter)



Model for the Holy Mountain (The White Geometry of Winter) 2011
156 x 105 x 33 cm
wood, acrylic

The Last Word

Daniel BellDaniel Bell reflects on Friends, Foes, Influences, Ideologies, the State of the Novel, the State of the Union, and the Old Neighborhood.
This interview was conducted on September 21, 2010, a few months before Daniel Bell’s death, at his home in Cambridge, Massachusetts.



I. Adversaries

Who was your adversary when you were writing The End of Ideology and The Cultural Contradictions of Capitalism?

I’m not sure there’s a single person. It was more against a whole current of writers, against whole ideological ways of thinking.

It goes very far back, to a crucial personal episode which defined my life when I was in City College. I had joined the Young People’s Socialist League at the age of 13. It’s crazy, but there it is. And I did so for very basic reasons: my father died when I was an infant; my mother raised me; she worked in a factory. There were two seasons in the year — busy and slack. When it was slack, my mother would be home to take care of me. In the busy season, I was in an orphanage. The orphanage was supported by the Jewish community. There were these personal ties that were important.

I grew up on the Lower East Side, which juts out into the river. Before the highways came, there were these long piers. They still remain on the West Side, these long piers. And they had these so-called “Hoovervilles” on the piers, which were tin shacks, and people living there. Everything was in the open. You could see people fornicating, fighting, everything. There were big garbage scowls which turned up, and we’d jump on the top of these to see if there were bits of food. At 11 o’clock at night we’d go to the West Side markets and we’d break open crates, and run away.

Everything was marked out by turf and ethnicity. The Italians were here, the Ukrainian kids were there, the Polish kids were there, the Jewish kids here. And there was “turf.” Before E.O. Wilson, it was about “turf.” We really believed in biological determinism, with every group having its place. There’d be fights. And — this was particularly true of the Polish kids — they’d take potatoes, and put in the potatoes these double-edged razor blades, and throw them at you. A hail of potatoes with razor blades being thrown at you! What you’d do then is you took the top of the garbage cans, and those were our shields. And then our brave socialist women would go on top of the building and throw down hot water to get the kids scattered. And that was life, life on the Lower East Side.

People talk about “rent checks” and such now. About how poor people are because they don’t have enough to get their rent check. In those days, you didn’t have anything like a rent check! We lived in backyard tenements.

So I looked around, and I said to myself: what’s going on here? Twenty percent of the country was unemployed. At that time, there was no social security, there was no government aid of any kind. No unemployment insurance, no old age pensions, nothing. As a kid of thirteen, I figured capitalism was doomed. And so, through a couple of friends, we all became socialists.

Like a number of my young comrades, we in the Young People’s Socialist League were moving towards the Trotskyists. But I had some anarchist cousins who lived in the Mohegan colony which was near Peekskill, and there was a man named Rudolf Rocker, an anarchist. Even though he was gentile, he learned Yiddish. He was the editor of a magazine called the Freie Arbeiter Stimme, the Free Voice of Labor, and my cousin took me to see him. Rocker said to me: “Look, whatever you do, don’t join the Trotskyists.” I said: “Why?” He gave me a book by Alexander Berkman, called The Bolshevik Myth.

Berkman had been deported during the Palmer raids, during World War I. Anarchists went to Russia eagerly because, as they saw it, the anarchists had made the revolution. This wasn’t completely true, but at that time the country was still being led by the Soviets, or workers’ councils. And this is what the anarchists had always wanted: spontaneous movements by workers and peasants. So they went with great expectations.

But by 1921 sailors at Kronstadt were saying: “Look, you promised us free elections. What’s going on here?” And Trotsky said: “This is mutiny.” And that’s that. The sailors said: “We’re the ones who made the revolution in Kronstadt.” And he said: “Stop. I’ll shoot you down.” And Berkman tells this story, day by day.

He was in Kronstadt. He wrote about how he heard shouting, how he heard shots firing. “Trotsky has shot down the Kronstadt sailors! Thousands of bodies, thousands lie in the streets.” The very next day, Trotsky gave a lecture celebrating the Paris Commune. So I could never become a Trotskyist.

And yet I find myself being labeled at the end of my life as an “ex-Trotskyist.” But I was never an ex-Trotskyist — because I was never a Trotskyist!


But when you talked to Irving Howe, or people who were Trotskyites, were you unable to convince them?

We debated. We debated!

There was a group called the Shachtmanites, in City College. It was underground. The Shermanites were a group of radicals besides Irving Howe: [they] included Philip Selznick, the Berkeley academic who died just recently; there was also Irving Kristol. Marty Lipset was there — he took the name Mark Eden. And there was Marty Diamond. He was an extraordinary man who died young, who became a leading Straussian, probably the leading Straussian in American thought. And there was a man named Peter Rossi, and he took a Jewish name, Rosenthal.

There were these debates. I had read a book before the others had, by Robert Michels, called Political Parties. Michels had been a student of Weber and he wrote a famous book which Lipset used in his book on Union Democracy, about the bureaucratic tendency in every organization. That no organization is immune to the bureaucratic tendency. And it targeted the Social Democratic leadership. The Iron Law of Oligarchy. So I would debate Irving Howe, I would say — we would adopt this tone — “And you think, Comrade Sherman, that James P. Cannon is immune to the Iron Law of Oligarchy?” These were my rhetorical smashes against Howe.

Howe was a Commissar at that time. A real Commissar. His real name was Horenstein. My name was Belotsky, originally. And Howe took as his Party name Hugh Ivan. Hugh for the gentleman that he wanted to be … and Ivan for the Muzhik that he was. (Laughs.) Then when he married Arien Mack, he became humanized. Unfortunately, he was later cuckholded and that almost destroyed him.


II. A Liberal Utopian

Are you a utopian?

In a way, I consider myself a utopian. There’s a book I’ve started to write — I’m not sure I’m ever going to finish it — about the historical tension between messianism and utopianism. And it is an attack on messianism. Because I would argue that too many problems of the last two thousand years or so are due to messianism. A messiah has a great vision, usually of redemption. Messianism requires following a leader. It requires pulling everybody into the scheme of a leader. Whereas utopianism basically consists in co-opting people to build things together. There is no overall, overarching scheme.

But the historical difficulty of utopianism is precisely that it doesn’t have a messiah, or a similarly overarching, emotionally powerful actor. So that the tension between utopianism and messianism is frequently to the unfair advantage of the messianic. I believe more and more that if we can have utopian movements we’ll do better than if we have messianic movements.

Is there a place for utopianism in a liberal society?

I think utopianism is a necessary framework. People want some ideals. And that’s why in the book I’m planning the only antagonist to utopianism is messianism. Take the example of what I suspect would be one of the worst examples of messianism — the Jonestown episode, where 700 people simply drank a drug that killed them, at the command of Mr. Jones. The point about messianism is that it always leads to a system of command: you have to follow the messiah. Utopianism has no such system of command. It has only a cooperative imperative: to build.

The problem with utopianism, historically, is that it has a tinge of going back to some presumed ideal. There’s a source of utopianism which is somewhat beautiful in its way, but pulls it back — back to arcadia. Historically, the tension has been between utopianism and arcadia. What I want to do is to say: I don’t want to go from arcadia against messianism. I’d rather have utopianism. So there’s a triangulation there.

But the nineteenth-century utopians — men like Fourier — were not backward-oriented utopians. Were they somehow different?

It depends. Fourier was a madman. A real madman. A brilliant genius of a madman.

The best utopian was Saint-Simon. He had these schemes, these triangular schemes. You know how they Saint-Simonians would get dressed? They dressed with the buttons on the back of their suits. That way, you couldn’t dress yourself. You needed someone to help you. So that’s a wonderful situation, where you are creating communities because you can’t get dressed without them.

What did you take from the Saint-Simonians?

Theories of development. If you look at the theories of development, there are two streams which have never been worked out completely. One is the idea of capitalism, which comes from Marx. The other is industrialism.

The whole stream of “industrial society” begins with Saint-Simon, and from there you have Auguste Comte; then you have the positivism which develops from that, and then in modern times you have Raymond Aron, and finally someone like myself, following from Aron. Instead of capitalism, which in its own way is based upon notions of exploitation, and industrialism, which is based on the idea of technology, one can think of the development of society; of a positive scheme. It is only in the last 50 years or so that the theme of “industrialism” has come forward, and it is largely through the efforts of Aron.



I’m curious to hear you say this, because I don’t see you fitting in with this French line. There’s a deep Weberian pessimism in your work, and a sense of history that seems to owe more to Vico than to these enthusiastic Frenchmen.

That’s completely true. I think you are right that Weber is the lynchpin of my ideas. But no ideas are ever simply lineal. You always have a variety of influences. In a way, the other sort of pole is Durkheim, because Durkheim at bottom had a religious foundation.

III Literature and Politics

We haven’t talked about literature.

Well, I haven’t really kept up with contemporary novels.

But there’s a bunch in your office upstairs.

No one writes today about the larger element of society. Not Paul Auster, not any of the others. Everything is a falling away from the whole emphasis of social realism. But this is a pulling away.

Take this new book of Franzen’s. At the most it is about the family, and the hidden tensions within a family.

It is interesting that with the collapse of the psychological movement you get more emphasis on psychology. But no one talks about society anymore. Instead they talk about human rights. Because human rights then covers everything. The problem with human rights is that it doesn’t have boundaries.

Isn’t that Hannah Arendt’s criticism?

Hannah is a more complicated element. I knew her very well, particularly during the year I spent at Chicago. But I would say that Hannah’s book, The Origins of Totalitarianism, was wrong. Very few societies have ever been totalitarian, at least for long. You can’t simply smash everything. There’s always something left. No society can ever live that way.

The one thing the theory of totalitarianism never confronted is the family. People live by the family, and there’s no mention of families in The Origins of Totalitarianism. So that the idea that you smash a society… — but she changed her mind, interestingly enough, during the Hungarian Revolution. If you look at the introduction to the reissue of the book, you’ll see she changed her mind.


You speak very affectionately about communities and families, in particular of the ones you grew up in. Were you ever attracted to the communitarians?

Well, not in the way communitarians have developed. When I think of communitarianism, I think of two people. I think of Amitai Etzioni and Michael Sandel. As I used to say to Michael: “The trouble with your view is that I’m a Jew. And your communitarianism never mentions the right of Jews to be Jews.”

We’re a community, and yet the communitarian movement exists with respect to a national polity. And by existing in relation to a national polity, it tends to put aside the particularity of real communities, like the Jewish community. So communitarianism to me has always seemed an abstract option. And to the extent that it is a doctrine, it is related to a national polity, so that… — to some extent this reflects my anarchist background, that I want to diminish the national polity. Abolish it as a polity, not as an economy. I’ve written, as you probably know, that I’m a socialist in economics, a liberal in politics, and a conservative in culture.

And you’ve never had any trouble reconciling those?

Not in the least! I’m against the idea of totality, which is a whole Marxist concept. I believe there are different logics in the different realms. The economy is, more or less, a system in which interdependence is established through the different variables of supply and demand. The polity is not a system, it is an order, held together by coercion and consent. Culture has two dimensions. One is the dimension of forms that exist, and the other is the dimension of meanings.

Two things broke me away from Marxism. One is the fact that if you look at the great historic religions, going back to what Jaspers called the Axial Age, the cores are still recognizable today — Judaism, Christianity, Confucianism. Economies have disappeared, political empires have crumbled, yet the greatest religions remain. The question is: how can this be, if the mode of production determines the superstructure? How come they remain? So to me, the very nature of these great historic religions is a repudiation of Marxism.

The second is the idea of substructure and superstructure — the idea that the substructure determines the superstructure. Well, that’s silly. Look at Germany from the eighteenth century to the present. You have a Wilhelmine Empire, a Federal Republic, you have a Nazi period, you have the new Federal Republic — yet the substructure is basically still capitalist. Now how can that be? How, on a Marxist view, can you have a single substructure and yet such a variety of superstructures?


Ok, so the realms may be autonomous. But do you not think they are intimately related? In Cultural Contradictions, you write of how America’s crumbling cultural values threaten the economic realm.

Let me go back for a minute because this is crucial. If there’s no single dimension that runs across these different realms, then what is so special about them? I’m a socialist in economics because I believe that every human being has a right — if you want to put it that way — to a decent living standard. It goes back to Aristotle. If a man is not a member of the polity, he is either a beast or a God. So that there ought to be a “right” to give everybody a decent standard of living. Being a member of the society gives rise to a claim on the economy.

I’m a liberal in politics because I believe in merit. And I therefore believe that one’s position in society ought to be determined on the basis of merit.

In culture, I’m a conservative because I believe in judgment, forms, and meanings.

So that’s why I can assume a certain logical coherence to the idea of being a socialist in economics, a liberal in politics, and a conservative in culture.


But in Cultural Contradictions of Capitalism you precisely describe a contradiction between an economy that requires people to work and to save, and a cultural ethic that tells people to enjoy leisure, and to consume.

Well, here there is a contradiction between production and consumption. Go back to the original theories of Weber. Capitalism requires delayed gratification, savings, not going into debt, saving up for tomorrow. Whereas a modern society is a consumer society.

The beginning of the story of capitalism in the last century is a story of the 1920s. It was invented by a man named Paul Mazer. It is called the installment plan. Instead of saving up for it, you can get it now and pay later. This is an invitation to expand the market.

So there are always these little contradictions. Nothing is ever seamless. That’s one of the problems with the Catholic Church — it believes everything is seamless.


Do you think that in some ways the present financial crisis has vindicated your theory? Public and private debt in the United States are now three times GDP …

The financial crisis violates the most fundamental theorem of Weber: the only time that you go into debt is if you buy land in order to buy a house. But you can’t go into debt for other things. So that this tension of savings versus debt has always been there.

In this country, for the last 10-15 years or more, there’s been almost no savings. You go into debt. The debt was leveraged, because the notion was that house prices would always go up. One of the problems with the foreclosure thing today is that no one knows how many people speculated and flipped. If 10 per cent of people bought a house on speculation, with the idea of flipping it, they are stuck. And that’s a typical thing, if you try to deal with the issue of foreclosures: these people were buying just to flip it. So why the hell should you save them? No one had the courage to say: “Let’s see how many people bought extra houses to flip them.”

But the real question is: how can people, very smart people at Goldman Sachs and others, go on with the idea that you can leverage a whole society? They are living by leverage, and not realizing that there is a simple law in statistics: that we have a growth pattern that is an S curve. It goes up, and then you reach a midpoint, when it begins to come down. All these people are mathematical. So they’d have to say: “Hey, how can this thing keep going up?”

The answer, I suspect, is that enough people behind the scenes are saying: “That’s how I’ll make my money, at their expense. I’ll get out in time!” But they themselves then got trapped.

I have a former father-in-law, through a previous marriage, who wanted me to come into the family business. His name is Benjamin Graham. Benjamin Graham, you probably know, was the founder of value analysis. He said: “I have a bright young man here, named Warren Buffett. I’ll pair you with Warren Buffett!” And I said, Ben, the problem is, I have no stomach for the “timing,” and that’s crucial in this business. Well, anyhow, I worked for Ben, and I made some money with it. I do understand the markets.


IV. Past and Future

You used to serve on the Commission on the Year 2000. Some of that work came through in The Coming of Post-Industrial Society, which was really futurology: looking forward and trying to predict where society will be in 20 or 30 years.

There’s a misunderstanding to some extent, which is probably my fault. The Commission on the Year 2000, when I was involved in organizing it, was never really interested in the future. There is something called the Encyclopedia of the Future, which came out of a group in Washington, for which I wrote a long essay, attacking the idea of the future.


You mean attacking futurology?

Attacking futurology, yes, and in particular attacking Alvin Toffler, and what I called “future shlock.” (Laughs.)

There are two problems with futurology. One is that no one can do prediction. Why? Because predictions are point events, and you never know the internal dynamics. I think of my erstwhile colleague Zbigniew Brzezinski, with whom I taught at Columbia. During a debate on television he was asked: “Professor Brzezinski, are you a Kremlinologist?” And he said: “Well, if you like, though it is an ugly word.” “So you are someone who studies the Soviet Union? If so, Professor Brzezinski, how come you failed to predict the ouster of Khrushchev?” And Zbig said: “Tell me: if Khrushchev couldn’t predict his own ouster, how do you expect me to do it?!”

So you can’t predict. What you can do is deal with structural change. If you move from an agricultural to an industrial economy then there are obvious changes you have to make in the educational system, and various other places. That’s why I make a distinction between prediction and forecasting.

The other problem is that we weren’t interested in the future, per se. We were interested in the fact that once you make a decision it becomes binding and lays out the lines for the next time period. If you build a city, and build it on a grid pattern, then it becomes a constraint on how you build in the future. Whether you build in a circular pattern or a grid pattern affects the lives of people in the future. So we’re not only interested in forecasting the future, but in saying: let’s pay attention to how we make decisions now, because they are going to affect our legacy in the future.


What do you make of the confrontation between rival forms of capitalism, between state—directed capitalism in China, and whatever it is we have in the West?

Well, the story of the West begins in 1453.


The fall of Constantinople?

Yes, the fall of Constantinople. Good for you. (Laughter.)

What the fall of Constantinople meant was a shift to the Atlantic littoral. Holland, England, Spain, and Portugal became the main actors.

Now, there are certain kinds of large-scale, cyclical elements. In the nineteenth century, to the extent that there is any single indicator, and it is a difficult one, it would be steel. England based its industrial revolution on steel, and on the availability of coal. Eventually the United States overtook Britain on steel, and we became dominant. And then Japan, and Korea, who were able to undercut us on price. The only way you can avoid that, the way the Italians avoided some of it, is to move to specialized and niche production, as opposed to mass production. The Italians lost out on textiles, but then they began to specialize in a niche market, as did Benetton and others.

When the Russians managed to increase their productivity it was for the same reason the Chinese are now increasing their productivity: the movement of people off the land and into cities. The urbanization process. The Chinese have these huge internal migrant populations. Now, of course, the Chinese are beginning to get worried about countries like Vietnam undercutting them in turn.

So these large-scale shifts are taking place, and we’ve lost out almost completely. What we have to do is either go into niche production, or find new areas. I think in the next 20-30 years, maybe longer, space will be a major area, undersea resources, biology, some elements of basic research.

I think the U.S. is in a difficult position. The recent recession is a blip. It is a consequence of overleveraging, speculation and so on — but it doesn’t really have anything to do with the fundamental structural problems confronting this society.



The recession was a blip?

It might not have been a blip. The financial system is responsible for shifting money into resources. It overdid that, and failed. The question is whether you can really recreate a viable financial system. But all of that is secondary.

The real issue for leadership is that very few people pay attention to fundamental structural changes. We can identify fundamental structural changes, and that is the only defense we have against cyclical changes.

But in this country now, unfortunately, nobody really looks at trying to find out what the historic precedents and trends might tell us. There is no sense of history in these matters.

Daniel Bell was a sociologist and Professor Emeritus at Harvard University. He served as managing editor of The New Leader (1941–1945), labor editor of Fortune (1948–1958) and later co-editor (with Irving Kristol) of The Public Interest (1965–1973). Among his best-known books are The End of Ideology (1960), The Coming of a Post-Industrial Society (1973), and The Cultural Contradictions of Capitalism (1976). His book, The Reforming of General Education: The Columbia Experience in Its National Setting, has recently been republished by Transaction with a new introduction.
Roberto Foa is a PhD Candidate at Harvard University.
Thomas Meaney is an editor of The Utopian

Source: www.the-utopian.org, February 10th, 2011.