A piece republished on my old v-2 site in 2003 and creakingly old even then, having originally been written for a magazine called neo my ex-wife and I published in Seattle circa 1994. It is soooooo Nineties in its framings and formal concerns, but kinda fun nevertheless. Enjoy!
Returning slowly to ordinary consciousness as you stagger out onto the sidewalk at quarter to two in the morning, you find yourself with a pair of gonging eardrums, hands covered in the fluid seeping from torn blisters. The high-pitched scream in your ears is the predictable aftermath of a show; the blisters were suffered (you can only surmise) while hammering on a 55-gallon oil drum with a crowbar.
It’s the blisters – and the stench of cordite and adrenaline and fear that still hovers in your nostrils – that testify to the fact that what you’ve just seen is anything but the average rock’n’roll show. You’ve survived your first encounter with ¡Tchkung!
Recipe for a ¡Tchkung! show: a little May 1968 guerrilla street theater, a few touches from Survival Research Laboratories, a surprising amount from the contemporary French circus, maybe a pinch of Leni Riefenstahl – and not very much at all from the hallowed iconographic menu of rock.
Oh, sure, there’s some people playing musical instruments up on a stage, and there’s a pretty light show flickering over them. But that’s about where the resemblance ends. ¡Tchkung! uses a variety of techniques to break down the wall between performer and audience, sideshow pyrotechnicians and roving self-piercers among them. There’s no identifiable boundary between observation and participation – here’s where the comparison to SRL comes in: you can either choose to join in the chaos or back away to a putatively safe distance. The experience almost manages to revivify the use-worn phrase “in your face.”
As your mind clears, you review the events of the evening. You can barely remember how you felt just a few hours ago, so total has been your immersion in the mood of the show.
You do remember getting into the opening acts, a bagpipe ensemble and a Taiko drumming group, and being disappointed that more people in the crowd didn’t seem to be paying attention. The Taiko drummers in particular impressed you with their sense of barely-contained energies, and you wanted them to go on longer. But that desire was forgotten as ¡Tchkung! took the stage, amid the martial clang of found percussion and a sudden cacophony of voices and instruments.
How many were up there, anyway? Six, seven? They launched immediately into a grinding dirge, and everything else was swept away.
A torchlight procession wends its way down from the stage, around the club and back again; drums and sheet metal are tossed into the audience, along with tools and rough pieces of rebar for use as strikers. The action is acentric: there’s stuff going on up there, yeah, but there’s a knot of people twenty feet away watching a man eat fire. Right above you, a woman is shoving a needle through her lip with an expression of calm concentration made more exquisite by the total clamor on all sides. And where you’d expect a mosh pit to be, people who have never met each other – some in full bodypaint – are locking arms and dancing in a circle like medieval peasants at Beltane.
You’re encouraged to participate in this laying on of hands.
It occurs to me that I haven’t said much about the music. In this, I join a growing line of reviewers, who have tended to talk about the “barrage” of “damage” and “ritual”, but not about tunes. So far, music has been surprisingly secondary to any discussion of ¡Tchkung!, whether you’re talking about their live presentation or their self-titled debut CD (Belltown Records). It’s not because the music is bad – very much the contrary – but because the experience seems to be so much larger than just the songs.
They collude in giving this impression, too. The CD insert gives none of the standard information about the personnel of the band, the instruments or samples deployed, the lyrics. Instead, what you find upon opening the booklet is a veritable smorgasbord of left-antiauthoritarian thought, with elements recognizably derived from the IWW, the Situationists, the Diggers and Luddites, French theory circa Baudrillard…
Some of it doesn’t hang together very well: this is one of the only places I’ve ever seen ecofeminist and pagan thought juxtaposed with the macho deep ecology of Dave Foreman. And what would Kropotkin make of Terence McKenna? I appreciate ¡Tchkung!’s desire to turn their audience on to the wellsprings of their thought – but you do get the feeling that most of the other verbiage would be unnecessary if the music did its job.
OK, then: the music itself. If you’ve just gotta have a label, you might put ¡Tchkung! in the political wing of the percussive, assaultive school of sound known as “industrial.” This would make them classmates of the Lower East Side’s Missing Foundation and the Bay Area’s Sharkbait. There also seems to be a little bit of the anti-statism and anti-Christianity of the seminal, and annoying, British anarchist band Crass. What all of these bands share musically despite their many differences is a deep appreciation of harshly rhythmic noise, found percussion, and the use of slogans (all too often shouted from bullhorns) as lyrics.
You needn’t consider ¡Tchkung! to be hemmed in by this description, because they do have the makings of a sound that would far transcend the limitations of the genre. Where other bands of this genre dig themselves a rut of anger and monotony, ¡Tchkung!’s music has elements that compel genuine feeling and memory, whether the haunting, soulful keening of an extraordinary female vocalist, the weird Dreamtime warblings of a didgeridoo, or the chain-gang cadences of a worker’s blues. Where they’ve fallen down so far is in the successful integration of these elements into a focused whole, and in fact their CD will make you think you’re listening to a compilation album.
And listening to ¡Tchkung! at home is difficult anyway. Our society is structured in such a way that, for most people, it’s next to impossible to devote time to music exclusively, and so you wind up listening most while taking care of other tasks. We listen while driving, washing the dishes, making love – but how often do you just sit back in an otherwise silent environment and savor music? Getting the most out of a song like the otherworldly invocation “Io Lilith,” requires just such attention.
Then there’s the undeniable fact that most of these cuts evolved as soundtracks to live performance art – participatory and unscripted, but performance nonetheless. They can seem inchoate and incomplete without their complement of live activity. That they still succeed as well as they do is evidence that there’s some talent involved, but it is a sore point. They need to figure out how to have the performance of the music itself be the show.
I have seen bands that have mastered this. One I particularly remember launched into a song about a homeless Vietnam veteran living and dying on Venice Beach. All I really remember of the evening is this song, with its visceral thrum of bass and drums beneath the parallel wailing of sax and singer. The sound conveyed with absolute precision and fidelity an oppressive sense of narrowing options and failing hopes — and somehow found an affirmation of possibility at the bottom of the well. This is something that the unadorned three-piece wasn’t necessarily capable of; it’s my belief that it was the room they made for the swooping, lacerating sax that took them over the edge into transcendence.
That’s what I’m looking for. I’m not suggesting that it can be found simply by grafting a sax or a second drum kit onto the rock unit; neither do I believe that it can be forced by the wholesale, disrespectful adaptation of instrumentation or time signatures from other cultures. I think it comes in the fusion, the cross-fertilization, the creative recombination of elements.
We’re not limited anymore, in either the tactics or tools with which we approach making music. Punk rock famously urged us to Do It Ourselves. Hip-hop gave us the ideology of the sample; minimalism allowed us to derive structure from repetition of a few simple elements. Industrial taught us to explore the textures of noise and “world music” brought the planet’s entire history and heritage of musical experience to our immediate awareness. And digital technology means that whether it’s Ella Fitzgerald, Erik Satie, the throat-singers of Tuva, or a squealing circular saw we’re learning from, the lessons are as accessible as the nearest disc player.
So rise the new hybrid forms, born of new experiences: Parisian hip-hop, Gregorian ambient, Nipponese grindcore. Township jive touches down in Queens and Brazilian kids find out that speedmetal works especially well in Portuguese. It may not be exactly what McLuhan meant by the “global village,” but it’s as close as we’re likely to know.
I expect amazing things.
The musicians send forth waves of sound to break and crash over the audience; the response is immediate, sending bodies surging about like a throng of urchin dervishes. Sweatslick flesh presses in on you from every side, beyond individuality or gender. There’s an erotic charge in the air here, but also a palpable thanatos, a will to death and destruction that pulls on you like an undertow. Over the pounding beat, one of the singers is giving voice to a full, almost Old Testament wailing, a shriek of hopeless grief that recalls Diamanda Galas. It’s obviously a very intense and meaningful moment for her; the intensity comes across but much of her meaning is lost to you.
The air is thick with pheromones. The contrasts of the moment are dizzying: the singer’s grief, the exhilaration of losing yourself to the bodies on either side of you, the feral sexuality and the sense of loss.
They’re out on tour as I write, these offspring of Neubauten and Noam Chomsky, playing their harsh sounds out there in the American Night. I try to imagine them in Idaho, on this first night of the State Fair, mounting their full onslaught for what could be a room of fifteen, and fail.
I just can’t picture ritual percussion and onstage piercing playing real well in Boise. But maybe the world is changing faster than I think. According to a band member — the band speaks collectively or not at all — “the ranting and raving, they could take or leave, but they’ll stay through it just to hear the music.” I have to admit I’m surprised; after all, what will a nation used to Pantera and Snoop Doggy Dogg make of ¡Tchkung!, a band whose live sound could fairly be described as a discourse on the 1934 General Strike fused to the squeal of sawblade on aluminum?
But they’re not having too tough of a time getting their point across to audiences, and at that there is something appealingly homespun about them, something wholesome and (they’d hate it) deeply American. It’s a spirit somewhere between the Boston Tea Party and Andy Hardy shouting, “Hey, kids! Let’s put on a show!” None of which probably sounds terribly inviting, but I mean it as a compliment.
Avowedly anti-music-business, ¡Tchkung! claims “we’re doing something wrong if we get famous.” At the same time, they face the central dilemma of our mediated age — one never successfully negotiated by veterans of the punk rock moment such as Fugazi or Bad Religion: what happens when a subculture reaches critical mass?
If you believe in your message, naturally you want it to reach as many minds as you can. The way to those minds is through the gate of mass communications, and the gatekeeper is the big bad Media Biz. Because even such radically decentered communications tools as the Internet or the ‘zine scene speak to their own elites: a map of signals traffic along either of these networks would burn brightly over Hoboken, Berkeley and Georgetown, while leaving Jersey City, East Oakland or Anacostia dark.
The sad fact is that it’s the people who already have “access to tools and information” and power who know how to find relatively obscure artifacts like a ¡Tchkung! CD. Only the mass media have the ability to introject information into every fissure and crevice of our society. It’s a race and class and even cultural dilemma that ¡Tchkung! is sure to face head-on if they’re serious about getting their message across to the people who would benefit the most from a little self-empowerment.
The noise goes on and on and ON and you just want it to come to a climax or at least some sort of closure. After a while, you become aware that the stage is mostly empty, that the musicians are packing up their gear, and you’re not really sure at what point the show “ended.” The hammering din hasn’t let up in the least, and there’s still a good number of people locked into ecstatic dance.
Some perverse instinct compels you to wait it out, to see just how long it takes the crowd to ramp down from its ecstatic high. And so you wait and watch for things to end. But this show doesn’t; it just tapers off into guttering flames and one last screech of feedback, as dazed survivors reel across a dancefloor littered with “industrial” debris and shrapnel.
Seeing ¡Tchkung! left me feeling painfully ambivalent. On the one hand, here’s this band with a ton of energy, an awesome array of tactics to keep the audience involved, and (in the abstract, at least) politics I have little argument with. Those qualities have all proved vanishingly hard to come by in contemporary music. But what they have in sincerity, commitment, and intensity, they lack in focus and yes, discipline.
Because sometimes less really is more. Or more to the point: sometimes the energy that can sustain a show for three and a half hours at a given level could be used in more structured ways to produce a more vivid total effect in half that time. I know part of ¡Tchkung!’s intent is for each show to provide a door for the influx of chaos into the world — to create a temporary autonomous zone in which Anything Could Happen. But as it is, the Anything all too easily becomes boredom. And I resented it; the whole experience had raised a particular sort of energy in me — and then done nothing with it.
What did I want them to do with that energy? What might I have done with it myself? Alternately, what might I have done if only it was asked of me in that interval before the showbuzz wore off? Part of the problem here is that ¡Tchkung! is playing with fire, in more ways than the merely literal. The piercing, the firebreathing, the dervish-dancing, the relentless rhythms: these are all shamanic techniques for the alteration of consciousness, and there is no doubt but that they work. In their original contexts, they are all used by people undertaking specific initiatory journeys, when guided by others steeped in the traditions of their use. Of course, none of these conditions obtains at a ¡Tchkung! show. What happens when you put several hundred people into a suggestible state, in an environment filled with extraordinarily powerful signs of no fixed meaning?
¡Tchkung! obviously hopes that people will be empowered by the experience, moved to take back their lives from the entanglement of economic, social, religious, and political strictures that now binds us all. I share this hope, but I’m not so sanguine about the chances of such a mass transformation occurring spontaneously as the result of a three-hour carnival of noise. I could be wrong: for all I know, that’s the only way it could happen. But I’d bet against it.
¡Tchkung! is a band I like enough to come down hard on. They are a long way from where they need to be, I think, maybe even from where they want to be. And it sometimes seems — for an entity that presents itself as a musical group — that their music is entirely beside the point. But if they fall short on these counts it’s only because they have set their sights far higher than other acts you’ll see on the very same stages. They don’t seem particularly interested in providing an entertainment experience to an audience of passive consumers, which in itself is unusual for a band. They do seem interested in provoking the spontaneous creation of a community of desire, using any technique at hand. ¡Tchkung! wants you to determine the shape and direction of your own life. Despite some doubts about their tactics, there can be no higher goal, whether for a book, a speech, a magazine…or a rock band.
Hey there! It’s been awhile since I’ve shouted at ya properly, and I’m going to be MIA for just a little longer yet (having stupidly locked myself into back-to-back-to-back-to-back trips to Dublin, Manchester, Aarhus & NYC, and finding myself rather burnt to the ground as a result). In the meantime, I thought I’d give you a brief idea of what I’ve been thinking about lately, and what kinds of questions I’ll be taking up over the next few months.
I’ll warn you from the outset that everything that follows is both speculative, in that it reflects hints, notions and potential trajectories more than fully coherent and robustly worked-out arguments, and overdense, in that it alludes to more lines of thought than I can properly treat at any length you’d tolerate in a blog post. Bear with me anyway and hopefully we’ll get somewhere interesting together.
This year’s model
More than a few of you have asked just what it is that I’m up to here at LSE. My research project is fairly open, but I think it’s fair to describe it as a consideration of the perennial urbanist themes of land use, mobility and governance, as they fold back against an environment and population whose capacities and affordances are increasingly conditioned by the presence of networked computational systems.
Roughly, I’m asking: given the presence of these systems, how might we use them to (a) help allocate common spatial resources in such a way as to ensure the most socially productive use of the available space; (b) underwrite the greatest ability of all to participate personally and physically in all the circuits of exchange that constitute the city; and (c) assist communities in making wiser, more responsive and more widely agreed-upon decisions regarding these and other matters before them? And how do we do all of these things in a way that respects, supports and makes the most use of our existing competences for the city — that skillful negotiation of the world and its prospects that big-city folks have been known for since time out of mind?
Big questions, obviously, and what’s (I hope) equally obvious is that I make no pretense whatsoever of essaying neutral answers to them. With regard to the first of these topics, for example, it ought to be evident that my notions of “most productive use” bear very little resemblance to the argument from revenue-generation potential that furnishes most contemporary redevelopment schemes with their primary justificatory apparatus, and which as of this writing appears to have hollowed out any hope that the so-called “sharing economy” might give rise to radically different ways of working and living together.
As I’ll explain in greater detail below, it’s what happened to the early promise of a networked sharing economy that haunts me as I prepare to propose new configurations for convivial systems. For all the utopian hope that may have attended their arrival, I think by now it’s clear that all too many existing coworking and “maker” spaces orbit venture-financed technology startup culture too closely, badly underfulfilling their potential and reproducing conditions I have no interest in perpetuating. That I can see, they have broadly failed as alternative spaces in which we could shelter from the invidious operations of consumer-phase capital, rediscover some sense of ourselves as skilled and competent agents and reclaim responsibility for the furniture of our world. Meanwhile, other potentially transformative models, like those on which Zipcar and AirBnB are founded, seem to have been placidly, even hungrily absorbed into the extant framework of neoliberal assumption.
Signs, pointers and portents
Readers of “Against the smart city” (in Kindle or POD pamphlet editions) know that I don’t place any particularly great faith in existing institutions’ capacity (or willingness) to address these circumstances. I go into a fair amount of detail, in fact, to spell out just why I think the “smart city” is such a disastrously misguided conception of the role of networked information technology in our urban places and our lives. At the same time, though, I do think it’s incumbent upon anyone levying such a critique to articulate at least some affirmative vision of what they would like to see happen in the world.
So what do I believe more satisfying, more fructifying alternatives might look and feel like? And what do I think are some ways of using networked technologies capable of encouraging conceptions of the relation between self and society that are a little less atomic — that are, in other words, less Californian-ideological and more oriented toward commonwealth?
In the following months, I’ll be sketching out at least the basic contours of a vision of urban living and working that responds to these questions. In particular, I’m interested in elaborating the outlines of a post-growth, near-steady-state industrial permaculture in city centers, autonomously and locally managed, undergirded by networked systems of deliberation, resource stewardship, mobility and exchange. This is a vision of localism in which flows of matter and energy circulate in a carefully-maintained dynamic equilibrium; communities produce most of the things (and skills, and affects) they need to survive in an unstable world; and sensitive onshoring brings compact, clean sites of precision manufacture and production back into the urban fold, undoing the supply chains of continental and oceanic scale and the ludicrous energetic, environmental and human costs they entail. We learn, once again, to work in atoms as well as bits; we do so together; and in doing so, we focus on the creation of real prosperity in the absence of economic growth.
For a variety of reasons, it’s important to me that I ground everything I’ll be proposing in empirical observations of events and situations that have some track record of functioning successfully. As it happens, some hints of what aspects of this vision might look like in practice do crop up in three very different existing projects/processes I’m aware of: Madrid’s Campo de Cebada; the Godsbanen/Institut for (x) complex, in Aarhus, Denmark; and finally a commercial enterprise called Unto This Last right here in London. Each of these sites has something to teach us, and in some ways I think of each of them as a dress rehearsal for a best-case future.
Campo de Cebada: Community control
At el Campo de Cebada, a fenced-off 60,000 sq ft lot in the heart of Madrid — formerly the site of a market, seemingly doomed to persistent vacancy by the economic crisis of 2008 — was reclaimed and transformed into a community resource by the neighborhood’s residents themselves.
After securing physical access, but before anything was built on the lot, a core group of local activists (including members of the Zuloark architectural collective) convened a series of weekly open assemblies, organized on bedrock principles of transparency, openness and participation. Residents and other interested parties were asked to propose, weigh and decide upon the programs, structures and activities the site should support. And so what had been more or less an abandoned site came under autonomous community control, using horizontal, leaderless processes very similar to those that proved so successful in the Occupy movement (including Occupy Sandy, as I describe here). It was under this informal and only retroactively sanctioned process of management that the space finally began to generate meaningful value for its users and neighbors. (At this point it may be worth noting that Spain has a robust history of anarchist practice, though it would also be something of an sublime understatement to point out that Madrid was not historically the heart of this activity.)
Both public assemblies and other, more casual activities on the site notably rely upon rapidly reconfigurable/demountable pallet-based furniture designed by Zuloark, similar to that Raumlabor Berlin has deployed in their pop-up public spaces in the past. (Such furniture also suggests a slow percolation of open-source hardware design and construction schemas like OpenStructures, a central theme of year-before-last’s tremendous Adhocracy show.) But it would be a mistake to identify the lesson of el Campo de Cebada with its physical tokens. Like the community gardens of New York’s Lower East Side, or more recently 596 Acres, what its success suggests is that ordinary, nonspecialist people are more than capable of taking on responsibility for maintenance, deconfliction and the other less glamorous aspects of administering and operating any such site, in the very core of a world city of the long-developed North — and to do so not in response to an environmental shock like Katrina or Sandy, but as a (dare I say “entrepreneurial”) way of grasping the emergent opportunities that lay curled up fractally inside the slower processes of economic calamity.
What the people behind el Campo de Cebada have forged together is, in essence, an Occupation that is affirmative rather than merely critical, productive and forward-looking as well as polemical. What their experience teaches us is that we can reimagine and reconfigure the sacrifice zones left behind by the reigning calculus of land valuation, grasping and making maximum use of them as a collective resource, in a maximally inclusive way.
Godsbanen/Institut for (x): Gradient of engagement
In Aarhus, my host Martin Brynskov took me for a walk around the publicly-funded Godsbanen production space/event venue, and the curious Institut for (x) that partially overlaps it. These institutions occupy a scatter of buildings lying at the end of a decommissioned rail spur that thrusts up into the heart of town, and the hour we spent walking over, around and through them began to suggest a particularly potent hybridization: autonomous self-management in the style of el Campo de Cebada, fused to the provision of standing community workshops and production facilities.
To my eye, anyway, Godsbanen consists of four distinct structures or conditions: the former railyard administration building, now the offices of various public, private and non-profit groups; a long main hall that was formerly the intermodal freight-transfer center, and now shelters the printshop, photo studio, metalshop and so on; a new infill structure (complete with vertiginously climbable roof) by 3XN, that comprises the event venue and canteen, and sinters the other buildings together; and a tumble of trailers, ad-hoc shacks, shade structures and lean-tos that apparently constitute the Institut for (x).
What was wonderful about Godsbanen was seeing men and women both — of all ages, very few of whom were obviously hipsterized — using the available wood-, metal-, clay- and textile-working facilities to make things for their own daily use. It’s this deployment of emergent digital craft techniques to produce things primarily with an eye to their use value rather than their exchange value à la present-day Etsy that so excited me.
But there are other ways in which Godsbanen one-ups the usual makerspace proposition. For example, the site sports a legible gradient of formality and structure, accessible at any point and traversable in either direction; you can literally see the stiff Scandinavian rectitude of the administration building decomposing into particles as you walk further down the rails, with everything that implies for uses and users. Martin pointed out that the complex supports two entirely distinct woodworking shops, one at either end of the gradient: the first (low-cost, but still pay-for-use) furnished with state-of-the-art equipment and on-site assistance, and the other, further down the yard, free but provided with somewhat older equipment and not much in the way of help/oversight. A project could germinate with two or three friends tinkering in the anarchic fringes, and move up the grade as they began to need more budget, order and privacy, or, alternately, a formal enterprise used to the comforts and constraints of the main building might hive off an experimental or exploratory activity requiring the freedom of the fringes. Either way, individual or collective undertakings are able to mature and develop inside a common framework, and avail themselves of more or less structure as needed. This is something that many self-styled incubators attempt, and very few seem to get right.
The further away one walks from the main building, the greater the sense of permission granted by the apparently random distribution of objects around the central space, by the texture of these objects and their orientation. This is of course not at all random: everything you see has been selected with an eye toward a precisely calibrated aesthetic that at times comes perilously close to favela chic, but that does send a very powerful message about the appropriability of the environment, the kinds of things people can do here and the kinds of people who can do them. (Note that this is the same message ostensibly conveyed, but actually undermined, by the “wacky,” infantilized furniture of dot-com and tech-startup offices.)
This aspect of legibility, or performativity, strikes me as being nontrivially important to the success of the Godsbanen project. What fifty or more years of spectacular consumerism have left us with is the need to be seen to be doing what we do, as a performance of self, identity and affiliation. What participation in a place like Institut for (x) gives its user-constituents is a way to achieve that end without it necessarily being commodified. Citizens are making a very deliberate statement by participating here, and being seen to participate: a statement of value that remains outside the register of consumer capitalism, without necessarily being overtly, consciously or uncomplicatedly in opposition to it.
My sense is that Aarhus has figured out something sensitively dependent on a whole lot of boundary conditions — something that municipalities around the planet are falling all over themselves trying to reinvent, and generally missing by a country mile. Their success has something to do, certainly, with the fact that Denmark can find funds in the public purse to support this kind of activity, and just as certainly with the fact that a coherent fabric of trust yet persists in Danish culture of the everyday.
But it owes even more to some very canny spatial and social thinking. What the Aarhus experiment teaches us, among quite a few other things, are how to organize space so its legibility serves its users rather than the prerogatives of territorial control, and that many of the material things we need in life we can learn to make for ourselves.
Unto This Last: Local production, training and employment
Which brings us to Unto This Last, a commercial furniture manufacturer that has been operating in London’s Brick Lane for the past thirteen years. Their product line — a reasonably wide selection of chairs, tables, beds, bookshelves and storage units — displays a total coherence from conception all the way through design, fabrication method and setting to delivery. Each piece has been carefully designed so that it can be assembled from flat pieces cut from sheets of sustainably-grown birch plywood, by a CNC cutter right in the back of the shop. (Swing by at the right time, and you can see it in action, cutting components of the piece that you yourself will take home and weave into your life.) The shop’s ethos of “less mass, more data” rather takes the logistics-friendly Ikea flatpack concept to a new level.
There are, inevitably, issues. While I personally rather like it, it’s clear that the stripped-down aesthetic (ably conveyed by the store’s iconic sign) isn’t for everyone. And ideally trees yielding wood suitable to this kind of application could be grown within the local bioregion, rather than being shipped from the (state-owned and -managed) forests of Latvia.
Nevertheless, alongside other, slightly differing initiatives, like the wonderfully-named Assemble & Join, what Unto This Last teaches us is how to wrest the greatest practical, economic and (as we’ll see) social value from the minimum investment in matter and energy.
In the fusion of each of these three archetypal processes, el Campo de Cebada, Godsbanen and Unto This Last, we can see the outlines of something truly radical and terribly exciting beginning to resolve. What can be made out, gleaming in the darkness, is a — partial, incomplete, necessarily insufficient, but hugely important — way of responding to the disappearance of meaningful jobs from our cities, as well as all the baleful second-order effects that attend that disappearance.
When apologists for the technology industry trumpet the decontextualized factoid that each “tech” job ostensibly creates five new service positions as a secondary effect, what they neglect to mention is that the lion’s share of those jobs will as a matter of course prove to be the kind of insecure, short-term, benefits-lacking, at-or-close-to-minimum-wage positions that typify the contemporary service sector. This sort of employment can’t come anywhere close to the (typically unionized) industrial-sector jobs of the twentieth century in their capacity to bind a community together, either in the income and benefits they produce by way of compensation, in the conception of self and competence they generate in those who hold them, or in the sense of solidarity with others similarly situated that they generally evoke.
At the same time, though, like many others, I too believe it would be foolish to artifically inflate employment by propping up declining smokestack industries with public-sector subsidies. Why, for example, continue to maintain Detroit’s automobile manufacturers on taxpayer-funded life support, when their approach to the world is so deeply retrograde, their product so very corrosive environmentally and socially, their behavior so irresponsible and their management so blitheringly, hamfistedly incompetent? That which is falling should also be pushed, surely. But that can’t ethically be done until something of comparable scale has been found to replace industrial manufacturing jobs as the generator of local economic vitality and the nexus of local community.
So where might meaningful, valued, value-generating employment be found — “employment” in the deepest sense of that word? I have two ways of answering that question:
- In the immediate term, I believe in the material and economic significance of digital fabrication technologies largely using free and open-source plans, deployed in small, clean, city-center workshops, under democratic community control. While these will never remotely be of a scale to replace all the vanished industrial jobs of the past, they offer us at least one favorable prospect those industrial jobs never could: the direct production of items immediately useful and valuable in one’s own life. Should such workshops be organized in such a way as to offer skills training (perhaps for laid-off service-sector workers, elders or at-risk youth), they present a genuinely potent economic and social proposition.
There are provisos. The Surly Urbanist correctly suggests that any positions created in such an endeavor need to be good jobs, i.e. not simply minimum-wage dronework, and my friend Rena Tom also notes that the skills training involved should be something more comprehensive than a simple set of instructions on how to run a CNC milling machine — that any such course of instruction would be most enduringly valuable if it amounted to an apprenticeship first in the manual and only later the numeric working of materials. I also want to be very clear that, per the kind of inclusive decision-making processes used at el Campo de Cebada, such a workshop would have to be something a community itself collectively thinks is worth experimenting with and investing in, not something inflicted upon it by guileless technoutopians from afar.
- In the fullness of time, I believe that the use of relatively high-technology techniques to accomplish not merely the local, autonomous production of everyday objects, furnitures and infrastructures, but their refit and repair, will come to be an economically salient activity in the global North. In this I see a congelation of several existing tendencies, logics or dynamics: the ideologically-driven retreat of the State from responsibility for stewardship of the everyday environment; the accelerating attrition and degradation of the West’s dated and undermaintained infrastructures, and their concomitant need for upgrade or replacement; increasing belief in the desirability of densifying urban infill; the rising awareness in the developed world of jugaad, gambiarra and other cultures of repair, reuse and improvisation; the emergence of fabricator-enabled adaptive upcycling; the circulation of a massive stock of recyclable componentry (in the form of obsolescent structures as well as landfill-bound but effectively nondegradable consumer items), coupled to the emergence of a favorable economics of materials recovery; broader experience with and understanding of networked, horizontal and leaderless organizational structures; the creation of a robust informational commons, including repositories of freely-downloadable specifications; and finally the clear capability of online platforms to facilitate development and sharing of the necessary knowledge, maintain some degree of standardization (or at least harmonization) of practice, suggest sites where citizen repair might constitute a useful intervention, and support processes of democratic decision-making.
On forgetting to slay the dragon
Especially when they’re of industrial grade, the 3D printers, laser cutters, CNC milling machines and other devices involved in digital precision manufacture are highly visible and — if you’ve ever seen one in operation, you know it’s true — coldly glamorous, possessed of the same eerie machinic grace and certainty that makes the flight of quadcopter drones such an uncanny thing to witness. Nor are fabricated things themselves without a certain evocative power. In a dynamic we should all be familiar with by now, and deeply suspicious of, the discrete printed object is often taken as not merely a sign standing for a complex underlying process, but accepted as a unremarkable replacement and stand-in for it. Thus we see an efflorescence of on-demand mall and High Street “fab labs” apparently dedicated to churning out novelty items of puissant symbolism, but little actual utility: personalized busts, complex gear trains that will never be connected to any other mechanism, and similar dead ends and blind alleys.
I certainly do not mean to fetishize the new production. What I do mean to suggest is that we’ve barely taken the measure of these networked, decentralized, distributed technologies of material production as economic and social enablers. The same techniques that generated kipple of the sort I describe above have clearly already transcended the hobbyist stage, having recently been used to rapidly produce and assemble objects of architectural scale and intent. (If anything, this impressive performance was underhyped; as Fred Scharmen points out, the designers/fabricators responsible for the Shanghai development “don’t have press agents, they didn’t make a rendering, they didn’t even post any photos or concepts until after they did it.”)
But neither are the technologies themselves really the point here. In everything I suggest above, the act of production is — comparatively, and for all its many rigors — the trivially easy bit. The challenge isn’t, at all, to propose the deployment of new fabrication technologies, but to deploy them in modes, configurations and assemblages that might effectively resist capture by existing logics of accumulation and exploitation, and bind them into processes generative of lasting and signficant shared value. This is the infinitely harder project of weaving all of these technologies into not merely “sustainable” but actually sustained practices and communities of practice.
My mistake in the past — and, in retrospect, it’s an astonishingly naïve and determinist one — was to think that emergent networked forms of shared resource utilization might in themselves give rise to any particularly liberatory politics of everyday life. Experience has taught me that such notionally transformative frameworks as do arise very readily get appropriated by existing ways of valuing, doing and being; whatever “emancipatory potential” may reside in them swiftly falls before path dependency and the weight of habit, and the gesture as a whole comes to nought.
This is what appears, for the time being anyway, to have fatally undermined the more interesting prospects for conceiving of space as a shared network resource, the cluster of practices I think of as treating “space as a service.” Consider what’s become of my original argument that the companionable coexistence of AirBnB and Couchsurfing.org implied enough space for a (non-corporate but robustly) commercial business model and a fiercely noncommercial service model to subsist side-by-side, even as they brokered access to the same resource: fast-forward three years, and AirBnB looks more and more like a formal branch of the hospitality industry with each passing day, while Couchsurfing has — fumblingly, and much to the chagrin of its original animating community — reinvented itself as a for-profit competitor.
The dynamic here puts me in mind of a thought expressed succinctly by David Harvey in his new, and excellent, book Seventeen Contradictions and the End of Capitalism:
The long history of attempts to create some such alternative (by way of worker cooperatives, autogestion, worker control and more latterly solidarity economies) suggests that this strategy can meet with only limited success…If the aim of these non-capitalistic forms of labor organization is still the production of exchange values, for example, and if the capacity for private persons to appropriate the social power of money remains unchecked, then the associated workers, the solidarity economies and the centrally planned production regimes ultimately either fail or become complicit in their own self-exploitation.
Also sobering is how very often over the past few years “disruptive innovation” in services has been attended by the worst sort of triumphalist douchery on the part of the already-privileged beneficiaries of the ostensible disruption. I think of the tellingly-named Uber, explicitly positioned as an outright celebration of the “self-made” Randian superman’s differential ability to route around urban infrastructural, bureaucratic and regulatory failure, in a world where his social and economic lessers are reduced to relying on defunded, dysfunctional, all-but-dystopian public transit. Uber’s self-serving rhetoric casts any regulation of their service as unwonted friction imposed by meddlesome rent-seekers, when that fabric of regulation was for the most part woven into place for good and sufficient reason.
As if these disappointments weren’t enough to chasten me from making assertions about propensities and likelihoods, not too long ago Anil Bawa-Cavia (rightly, I think) poked back at something I’d said regarding the “latent and unrealized emancipatory potential” of certain technologies:
I don’t see any reason to believe that any technology has a pre-inscribed ‘potential’ that remains latent within it. I agree with Harman’s interpretation of Latour on this point, extreme as it may be. Either entities have active affinities and relations or they don’t. I see no convincing reason to believe they possess an essence in which potential may reside. So can networked technology be emancipatory? I’d like to believe so, but only acting in relation with other actors in a co-ordinated manner…I don’t [therefore] think it’s constructive to simply assert that this potential is latent, as it amounts to an ideological projection or political posturing. The task, then, would be to go ahead and activate these technologies by bringing them in relation to other actants in ways which might be regarded as emancipatory.
Here the terms of what might at first blush appear to be an abstruse debate in the metaphysics of the flat ontology turn out to have important implications for the ways in which we see, describe and act in the world. Though for myself I tend to believe that all things have recourse to a broader performative repertoire than that set of relations currently enacted, I take Anil’s (and Harman’s, and more distantly Latour’s) point: we have to actually do the work of forging some linkage between things before we can know whether that particular linkage was in fact possible. And that work is an investment, is never accomplished without some cost.
So for all of these reasons, I’ve become wary of using that word “potential” to express my hope for the trajectories that appear to me to be latent in some emergent technosocial circumstance, but have yet to be actualized. But history nevertheless suggests that there is a marked degree of affinity between practices of material production in distributed, networked workshops, on the one hand, and polities choosing to organize themselves as a federation of autonomous local collectives managed by popular assembly on the other. If the latter seems in any wise to be a productive way of addressing some of the more vexatious challenges that afflict us, then maybe it might not be such a bad idea to experiment with the former. (Murray Bookchin gives some consideration to the organic politics of the materially self-reliant, in contexts that include medieval northern Italy and post-Colonial New England, in The Rise of Urbanization and the Decline of Citizenship, which I recommend without reservation.)
Given the direct and ancillary benefits that seem likely to cascade off of locating material production capabilities of this sort in the community, it might not be such a bad idea to experiment with them in any event, regardless of your politics. My aim, in all cases, is to see if the binding power of the network can’t be used to perform a kind of urban kintsugi: Expose the seams and sutures between things, articulate those seams in such a way as to improve the whole, leave the newly-rejoined fabric stronger than it had been before. What lies ahead is the costful task of attempting to verify whether this can in fact be accomplished — whether the value I suppose to subsist in this particular imagined alignment of technologies, spatial arrangements and organizational structures can actually be realized, by helping to produce real-world circumstances and situations that demonstrate it. And while there are certainly enough daunting aspects to this endeavor, and more than enough, I’ve rarely in my adult life been more optimistic than I find myself at this moment. It is clear to me that what we now have at hand, and ready to hand, are practices of the minimum viable utopia.
UPDATE: Event confirmed for 14th March, 2014. See the final post.
For the past half-decade or so, in a phenomenon most everyone reading this site is no doubt already intimately acquainted with, data-derived artifacts (dynamic visualizations, digital maps, interactive representations of place-specific information, even static “infographics”) have taken increasing prominence in the visual imaginary of mass culture.
We see such images all the time now: broadly speaking, the visual rhetoric associated with them is the animating stuff of everything from car commercials to the weather forecast. The same rhetoric breathes life into election and sports coverage on television, the title sequences of movies, viral Facebook posts and the interactive features on newspaper sites.
Sometimes — in fact, often — these images are deployed as abstract tokens, empty fetishes of futurity, tech-ness, data-ness, evidence-basedness…ultimately, au-courantness. Just as often, and very problematically, they’re used to “prove” things.
But we’ve also begun to see the first inklings of ways in which such artifacts can be used more interestingly, to open up rather than shut down collective discussion around issues of great popular import — to ask its users to consider how and why the state of affairs represented by a given visualization got to be that way, whether that state of affairs is at all OK with them, and what if anything ought to be done to redress it. And this is whether the topic at hand happens to be land use, urban renewal and gentrification, informal housing, the differential consequences of public and privatized mass transit or expenditures in the criminal justice system.
Very few methods of advocacy can convey the consequences of our collective decisions as viscerally as a soundly-designed visualization. (Similarly, if there’s a better way of helping people imagine the spatial implications of alternative policy directions, strategies, investments and allocations, I haven’t stumbled onto it yet, although that certainly blurs the distinction between representing that which does exist and simulating that which does not.) What would happen if such visualizations were consciously and explicitly used as the ground text and point of departure for a moderated deliberative process? Could democracy be done this way? Could this be done at regular intervals? And how might doing so lead to better outcomes (or simply more buy-in) than existing procedures?
There’s plenty of rough precedent for such a notion, albeit scattered across a few different registers of activity:
– A few savvy journalists are starting to use data-based visualizations and maps as the starting point for their more traditional investigative efforts, and the narratives built on them. Visualizations, in this mode, essentially allow unexpected correlations and fact patterns to rise to the surface of awareness, and suggest what questions it might therefore be fruitful for a reporter to ask.
– SeeClickFix, of course, already allows citizens to levy demands on local government bodies, though it doesn’t provide for the organization of autonomous response to the conditions it documents, and it forthrightly positions the objects it represents as problems rather than matters of concern. More proactive and affirmative in its framing is Change By Us, which does emphasize voluntarism, though still with a sense of supplication to (elected or appointed) representatives in government. (The site answers the question “Who’s listening?” by promising that a “network of city leaders is ready to hear your ideas and provide guidance for your projects.”) In any event, both SeeClickFix and Change By Us focus on highly granular, literally pothole- or at most community-garden-scale issues.
– Storefront Democracy, a student project of Kristin Gräfe and (ex-Urbanscaler) Jeff Kirsch, reimagined the front window of a city councillor’s district office as a site where community sentiment on various questions, expressed as votes, could be visualized. Voting is not quite the same thing as democracy, much less deliberation, but the project began to explore ways in which situated representations might be used to catalyze conversations about matters facing the community.
– There are even full-blown technological platforms that promise to enable robust networked democracy, though for all the technology involved this one at least seems to blow right by the potential of visualized states of affairs to serve as focal points for managed dissensus.
Draw out all of those threads, and what do you wind up with? I’m not at all sure, but the question is certainly provocative enough that I want to explore its implications in further depth and detail. Again, I’m interested in digital cartography and interactive representations of data used as the starting point, rather than the product and culmination, of a decision process. My intention is to disturb these things as settled facts, disinter them from the loam of zeitgeisty but near-meaningless infoporn that furnishes more than one glossy coffee-table book, and activate them instead as situated social objects. I think by now it’s clear that data-driven projects like Digital Matatus can furnish people with practical tools to manage the way things are in the city. But can they usefully catalyze conversation about the way things could (or should) be? And can we somehow bundle information about provenance into every representation of data, allowing users to ask how it was gathered, by whom, using what means and for what notional purpose, so they can arrive at their own determinations of its reliability and relevance? All of that remains to be seen.
If you find yourself nodding at any of this — or, indeed, you think it’s all deeply misguided, but nevertheless worth contesting in person — consider this a heads-up that I’ll be convening a one-day seminar on this and related topics at LSE in mid-March, and am looking for qualified speakers beyond my personal orbit and existing friendship circles. If you’re interested in either attending or speaking, please do email me at your earliest convenience at my first initial dot my last name at lse.ac.uk. Limited travel support is available – I have an event budget that allows me to fly in two to three speakers and put you up in Central London for a night, so if you or someone you know is inclined to present I definitely encourage you to get in touch. And let’s see if together we can’t figure out if there’s a thing here or not.
Politics, in effect, must be recreated again if we are to reclaim any degree of personal and collective sovereignty over our destiny. The nuclear unit of this politics is not the impersonal bureaucrat, the professional politician, the party functionary, or even the urban resident in all the splendor of his or her civic anonymity. It is the citizen — a term that embodies the classical ideals of philia, autonomy, rationality and, above all, civic commitment. The elusive citizen who surfaced historically in the assemblies of Greece, in the communes of medieval Europe, in the town meetings of New England, and in the revolutionary sections of Paris must be brought to the foreground of political theory. For without his or her presence and without a clear understanding of his or her genesis, development, and potentialities, any discussion of the city is likely to become anemically institutional and formal.
– Murray Bookchin, The Rise of Urbanization and the Decline of Citizenship, 1987.