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Four questions for the smart city

After a few solid years of thinking, writing and consulting about smart cities, I’ve distilled my recommendations down to four questions any municipal administrator or concerned citizen should ask when presented with propositions for the technological improvement of everyday urban life:

0. What does it do?
This question seems so obvious that you mightn’t think it needs to be posed explicitly. Incredibly, though, in my travels I’ve met a huge number of people, both in and out of government, who are so enamored of technological intervention both for its own sake, and for the gloss of modernity they think comes along with it, that they forget to ask just what it is they’re signing up for. Sometimes, indeed, they don’t even care. They should care, and so should you. What is the thing supposed to do in the first place?

1. Does it work?
Does the proposed intervention do what it’s supposed to do? This is by no means a settled matter of fact, even when dealing with technologies that might work stably and well in other contexts. Demand some kind of evidence that the proposed intervention actually functions in the way its vendors and advocates claim it will when deployed in an urban environment like yours, not just for a few weeks, but on an ongoing basis. If no such evidence is forthcoming, feel free to drive a much harder bargain, or to walk away entirely.

2. Do we agree that what it’s supposed to do is something worth doing?
A proposed technology might indeed do what its manufacturers say it will, but that thing might be monstrous — or at the very least, not something that a majority of citizens consider to be an end worth pursuing as a matter of public purpose. Say that someone is proposing to license and install new facial-recognition software for the city’s CCTV network, and that software reliably identifies 95% of the individuals that pass before its cameras. Is this a goal that the public has passed collective judgment on, and considers to be an acceptable expression of its will? (Are there procedures in place to reverse the deployment and its effects, should that collective judgment change in the future?)

3. Does it do that thing at reasonable cost, compared to other ways of addressing the issue at hand?
Maybe the proposed technological deployment serves an end that’s more or less universally regarded as desirable in your city, like reducing violence or vehicular traffic. And maybe the system on offer does actually (consistently, demonstrably, reliably) function toward that end. So far, so good. Are you convinced, though, that you’ve exhausted available ways of addressing the issue at hand that might be cheaper, less complex or less dependent on long-term systems integration, maintenance and upkeep commitments? Perhaps a summer jobs program is more effective at reducing youth violence than a cutting-edge predictive policing suite, and achieves its goals at a fraction of the cost (and without either abrogating the community’s rights or abrading its sensitivities). It might not be as superficially glamorous, and it won’t necessarily get your city talked about in puff pieces on cutting-edge urban innovation, but shouldn’t you exhaust that and other possible alternatives before shelling out in perpetuity for the complicated, big-ticket item?

Again, this almost shouldn’t need to be said in so many words, but: if you can’t come up with affirmative answers to questions 1 through 3, you should strongly reconsider whether the investment at hand is one worth making.

Note too that the framework I offer here limits itself to a consideration of the smart city at face value and on its own terms, i.e. those of financial cost-effectiveness and process efficiency. The truth, of course, is that are other ways of accounting for cost and benefit, and that the costs reckoned in dollars are neither the only ones incurred in any given deployment of informatic technology, nor by any stretch of the imagination the ones that matter most. But for the moment, let’s agree to place all such considerations to one side. What you might find startling, in doing so, is that the smart city very often cannot even justify itself on its own, artificially constrained terms.

“Against the smart city”: Impact metric, part II

Of such moments is a happy life made.

Once again, a note of cheer for those of you who may have suspected from time to time that all your creative efforts are in vain: this chart from a blathering McKinsey white paper on global adoption of “smart city solutions” acknowledges my 2013 pamphlet “Against the smart city” as part of an inflection point in the discourse.

Think about that for a second — I mean, I sure did, for well more than a second, and you can be equally sure it’s a thought I’ll return to in less affirmative moments. What we’re talking about here is a slim, self-published missive, written by an unaffiliated, uncredentialed independent, taking to task the offerings of hugely well-funded, global enterprises like IBM, Siemens, Hitachi, Cisco and Microsoft, and being cited by an equally global and well-resourced management consultancy as having helped blunt the force of their drive toward hegemony.

That the pamphlet in question was aided immeasurably by the simplemindedness, mendacity and brittleness of the things it set out to critique is beyond any doubt: you don’t need to wield much of a battering ram, after all, if all you’re trying to do is knock down a house of cards. Let’s be equally clear that by far the greater part of the c. 2014-15 retrenchment in corporate smart-city rhetoric stemmed from the fact that the multinationals found, to their great chagrin, that there simply wasn’t a viable high-return business model for what they’d been peddling. And finally, let’s not discount the influence of the multiple kinds of privilege I enjoyed (and continue to enjoy) in shaping the pamphlet’s reception. Those factors were all surely in play. But the lesson I derive from this experience is that at least some of the asymmetry and access to leverage those of us who were there cherished about the early Web remains a fact of the world — a fact that other uncredentialed, unaffiliated, independent actors can grasp and turn to their own advantage, whatever the flavor of their own particular struggle.

It’s not every day you wake up and see you’ve been given even partial credit for forcing Behemoth to alter its plan of attack, by a party granted all the credibility to perform such acts of discourse policing and consensus formation, and hope that the world is made that infinitesimal amount freer and more just as a result of your actions. As silly as this may certainly be, it’s also a gratifying and a sustaining thing. Know then that your pamphlet (mixtape, rant, supercut, outfit, etc.) can move mountains, if only by that much and only for awhile. I hope that more of you get to experience what that feels like — or still better, experience the reality of your impact for yourself, perceive it with your own senses instead of relying on some bottom-feeding consultancy to reaffirm what you already know to be true.

PETTY UPDATE: I get a huge, if somewhat cruel, kick out of seeing the McKinsey cats identify the June ’16 launch of Y Combinator’s New Cities initiative as a landmark moment in the triumphant return to credibility of the smart city. Headed up by the useless Ben Huh, New Cities appears to have been stillborn, with its blog featuring no activity to speak of since its initial announcement of intent, and a grand total of two posts on the associated research portal over the subsequent two years (one of which is a repost of the launch announcement). It really takes an impressive amount of intellectual dishonesty to anoint this as a milestone in anything but the annals of FAIL.

On the received aesthetic of the urban commons, and transcending it

Edmund Sumner's lovely picture of Ryue Nishizawa's Moriyama House

Edmund Sumner’s lovely picture of Ryue Nishizawa’s Moriyama House: What the commons could look like, but generally does not

A few days back, my friend and colleague John Bingham-Hall gave a great talk at the Cass School of Art, Architecture and Design, as part of a series on the urban commons organized by the wonderful Torange Khonsari. John’s talk was called “Common(s) Materials,” and it took up a question that’s central to many of my own concerns: is there some necessary relationship between the social or political qualities of a space claimed for the commons, and the materials used in articulating and furnishing that space?

What I want to do here is expand on some of John’s thoughts, and perhaps develop them further. What follows is more of a free association than anything else, and certainly not a well-formed argument; while I apologize if it’s not particularly structured, hopefully you’ll find some utility in it regardless.

What do you mean when you talk about “the commons”?

Let me first clarify what I mean by “the commons,” which, for present purposes, we can simply define as territory not governed by either the market or the state, and that is in principle available and accessible to all. (I’ve previously written about why I prefer the gerund form commoning, but we can set that to the side for now.)

Sites organized as commons have been in short supply in conurbations of the developed world ever since the so-called “urban renaissance,” or rediscovery and revalorization of the central city by the middle class, which started gathering steam around 1990. This reversal in the outward flow of population that had characterized the previous few decades sent land value in urban cores worldwide to vertiginous heights, and guaranteed that the worth of such parcels would henceforth be determined by their speculative exchange value, rather than any utility they might have as a dwelling-place for human beings. At the culmination of this process, a clear consensus regarding “the highest and best use” for land emerged worldwide, in the form of luxury condominiums whose units are traded as “sky bullion” among the members of a fairly shady global investor class consisting of oligarchs, autocrats, hedge-fund traders, private-equity managers and their children.

Under such circumstances, the only sites that were by and large left to popular control were waste and interstitial spaces, sacrifice zones too steep, difficult or prone to subsidence to develop profitably, or tracts where the projects of finance capital had failed, gone into receivership or otherwise been abandoned.

In the global South, for the most part, any such site is impossible to distinguish from the broader and thoroughly informal built fabric that may constitute the absolute majority of a city’s developed land area. It’s only in the metropolitan core of the developed world that sites occupied and maintained as commons tend to stand apart, not simply in terms of their political organizing principles but of their visual identity as well.

Is there any such thing as a “commons aesthetic”?

So can we establish that there is a coherent aesthetic associated with such spaces?

As I’ve noted here before, there is a distinct mode in which urban sites claimed for the commons present themselves to their users and the world. It’s present in most of the participatory spaces I’ve been so interested in over the past decade: you can see it deployed at Grand Voisins in Paris, el Campo de Cebada in Madrid, perhaps to a lesser extent at Prinzessinnengarten in Berlin, and it’s all over the projects of collective practices like Campo designer-builders Zuloark or the intriguing spatial provocateurs raumlabor Berlin. These spaces are characterized by the use of ultra-low-cost, widely accessible commodity materials readily manipulable by the untrained: shipping pallets and the wood reclaimed from them, CMUs of various types, construction tarps and rebar.

Cheap, lightweight components of this sort emphasize the mobile, participatory and rapidly reconfigurable qualities of common space — though perhaps at the cost of inadvertently underlining just how contingent such space generally is in the global North, just how vulnerable it is to clearance by the state and recuperation by the market. As John pointed out, there is a certain invitational character to them as well. You don’t require much in the way of training or prior experience to build surprisingly durable structures with these materials, which is the same reason you’ll find them at the heart of various self-build schemes of the past half-century. (Ken Isaacs’ visionary 1974 How To Build Your Own Living Structures is exemplary in this regard, though Walter Segal’s method has to be singled out for the longevity of its influence on actually-existing lifeways.)

Together, these elements comprise what I think of as the Received Commons Aesthetic, and as the name implies, it’s fair to say that it has by now become something of a mannerism. Further, its achievement on a given site may require outlays of capital or labor that the community claiming it for the commons cannot well tolerate. For example, raumlabor Berlin’s rather clever chairs, albeit using salvaged wood, are nevertheless purpose-built and labor-intensive. (Despite my own long-nurtured hopes for an eventual alignment of the informational commons with the spatial commons, at present I think it’s clear that the use of digitally-fabricated furniture in this context, like the designs licensed by Opendesk, can only be understood as hopelessly fetishistic, and the same thing probably goes for most appearances of open hardware.)

By contrast, the overwhelming majority of actual squats and social centers I’ve ever spent time in were furnished in an eclectic style that could best be described as “adaptive reuse,” with much of the interior furnishing either inherited from the building’s former occupants, or trashpicked and therefore freegan. In my experience, anyway, such avowedly anarchist spaces tend to be cozy with rugs, spavined La-Z-Boys and thick, insulating wall-hangings, if not outright gemütlich; the idea that their inhabitants would dedicate any effort at all to the design and construction of new furniture, especially amid the profound global surplus of manufactured objects available more or less for the taking, strikes me as, uh, questionable. (John ended his talk with the provocation that the most appropriate seating for spaces of participatory democracy would be the £5 folding chair from Ikea, rather than anything intended to function as a visual signifier of the commons; the equivalent, for most of the emerging world, would of course be the ubiquitous knockoff Monobloc.)

Why does any of this matter?

In his comments, John raised the question of performative transparency, as epitomized by Norman Foster’s Reichstag dome. At the Reichstag, glass is both denotative and connotative. You can literally see through it, of course, from the observer galleries to the workings of the chamber below, and it’s therefore supposed not merely to signify but actually enact the idea that democracy is something that takes place in public: the implication is that in present-day Germany, the deliberative process itself is as accessible, available and accountable as its image.

We can certainly wonder whether this is now the case, or ever has been. But as John pointed out, these performative qualities of glass do raise the question of what is implied when we choose to use other materials in our constructions of democratic space. In particular, he asked, “Does wood symbolically trap politics in the realm of the intimate?” In other words, does the very humility of the materials that together comprise the Received Commons Aesthetic consign the active practice of democracy to the strictly local, or suggest that there are no larger scales at which participatory praxis is appropriate?

In my own flavor of politics (which, as you may have noticed here and elsewhere, I’m increasingly comfortable characterizing as “neo-Bookchinian”), this may not matter so much. My feeling is that participatory deliberative processes work best in assemblies of about the Dunbar number — not at all coincidentally, the size of a New England-style town meeting — and that effective governance in both municipalities and larger territories can be achieved by networked federations thereof. Nevertheless, it’s a question worth taking seriously.

But there’s a more troubling implication raised by the Received Commons Aesthetic, which is that is so easily recognizable, so straightforwardly characterizable and so readily replicable that it can not merely stand for participatory politics but replace it entirely. If we see the RCA in admittedly interesting hybrid spaces like the Institut for (x) in Aarhus or the R-Urban project just northwest of Paris, there is however no suggestion that these sites are owned and managed collectively, for the benefit of all. And needless to say, anything so readily reducible to pastiche can also be encountered in watered-down form, at commercial sites like Seoul’s Ssamziegil — the latter places that do not remotely constitute a commons in any way, but clearly wish to convey the sense of openness, adaptivity, porosity and invitationality we associate with liberated spaces. What such sites imply is that the presence of architecture based on pallets, CMUs, tarps and other mobile elements may perform radical inclusion and participation where they do happen to be present, but also suggest them where they are not.

Indeed, at places like Boxpark and the truly vile Artworks, the aesthetic isn’t merely emptied of meaning but actually inverted: Boxpark is nothing more than a way of turning an otherwise marginal interstitial site into a buzz- and revenue-generating minimall, while the similar Artworks is deployed where the Heygate Estate housing complex once stood, camouflaging developer Lend Lease’s deep complicity in the council’s own program of social cleansing. (Apartments at the new Elephant Park were marketed, and evidently sold, exclusively to overseas investors, while the developers failed to actually provide any of the notionally affordable units they’d committed to.)

What all this says to me is that there is great value in establishing radically participatory spatial situations that do not greatly resemble the Received Commons Aesthetic, or at the very least pushing outward our notions of what common space can look like. Here my model has always been the microurbanism of Ryue Nishizawa’s Moriyama House, a gorgeously-conceived and carefully detailed cluster of dwelling units surrounding shared service, conviviality and circulation spaces. As private property owned by a single individual, the thicket of buildings that constitutes Moriyama House is clearly in no way a commons as we’ve defined it. But in edging away from the atomized nature of life in discrete apart-ments, it points toward what it might mean to dwell in common, and perhaps suggests something about the ways in which space can help individual tenants modulate public and private as need be.

Like raumlabor’s chairs, such proposals certainly run afoul of that tendency Kurt Vonnegut once perceptively identified as one of the primary flaws in the human character: that “everybody wants to build and nobody wants to do maintenance.” There’s no doubt a great deal of justice in the idea that by the metric of sustainability, at least, the most radical thing one could possibly do is to reclaim existing spaces, leverage the material-energetic investments already sunk in them, and perhaps retrain them if necessary. By this ethic, the grandeur comes to live with the otherwise unglamorous practices of maintenance and long-term stewardship.

But there’s also something to be said for the idea that beauty, craft and rigor in design ought to be reclaimed from the market — that spaces by, of and for the people need not read as or be ad-hoc, that they might instead be marked by certain aesthetics we more often associate with luxury and the commercial high end. Dating back at least as far as Ruskin, Morris and the Arts & Crafts movement, this is not, of course, a novel suggestion. It acquires new relevance, though, in a period of increasingly democratic and high-resolution control over the distribution of matter.

Organized as housing cooperatives or community land trusts or their equivalents, there’s no reason emergent spaces in common need to partake of the Received Commons Aesthetic — especially if it is more than occasionally dishonest in what it implies about the nature of the sites marked by it. With new digital design and construction techniques becoming relatively accessible, and powerful ways of building and dwelling together becoming available to learn from, it would be disappointing if the participatory and collectively managed spaces of the future failed to transcend the visual language of those few examples that exist at present.

I personally enjoy the Received Commons Aesthetic, just as I kinda dig the funky Ken Isaacs/early Whole Earth Catalog vibe of the various, deeply clever mobile assemblies Zuloark and their collaborators have built at el Campo. But what I enjoy more is the sense I have whenever I’m lucky enough to be on that parcel of land, which at that is not so different from what I remember about Kunsthaus Tacheles, or the various squats in which I’ve ever laid my head for the night: that here is freedom, and what’s more, freedom of a kind the market cannot offer at any rate or price. And because freedom is only another word for privilege unless it’s truly shared by all, it feels necessary, now, to begin peeling away that experience of freedom from the material undercarriage that implies but only occasionally actually supports its becoming.

My sense is that the Aesthetic, and the use of the materials it’s based on to construct and articulate spaces in common, will persist for some time yet to come, for all the reasons of low cost, accessibility and invitationality we’ve discussed. I hope, though, that we can imagine a time when such spaces aren’t limited to those that can be established on the scraps from late capitalism’s table, using offcuts from its voracious machinery. We should be thinking about what the urban commons might look like in triumph, when it can truly leverage all of the organizing, funding and building capabilities this moment in history offers us — when we dare to demand something reaching beyond a minimum viable utopia, and settle for nothing less than the entire city held in common, for the use and enjoyment of all who dwell in it and bring it to life.

My thanks to John Bingham-Hall, to his co-panelists Adam Kaasa and Nicolas Fonty for their insightful presentations, and to Torange Khonsari for her generosity in putting it all together.

For the defense of Rojava: Democratic confederalism and the undying dream of freedom

To paraphrase Sartre’s famous comments about Che Guevara, the autonomous citizens of Rojava, or the Democratic Federation of Northern Syria — and especially those fighting in the ranks of its militia, the YPG/YPJ — are the most fully realized human beings of our time. Their understanding of kyriarchy and what it requires of those of us who would unwind it is direct, complete, unclouded.

Officially branded as terrorist sympathizers, alternately supported, disregarded and threatened by the US, in this era of incoherent strategic policy and smash-and-grab opportunism, the men and women of Rojava have been forced to do it all on their own. They’ve had to learn how to do anarchism, how to do feminism, how to do horizontalism and federation, in practice, in real time, in what certainly appears to be some of the least propitious soil imaginable, in the face of a world that seems to want nothing so much as for them to disappear.

I believe we ought to be doing everything possible to support them, and defend them against those who would destroy them.

The emergence of a vital resistance in Rojava is weirdly personal for me. For decades, nurtured on more-or-less annual rereadings of Homage to Catalonia, I harbored the fantasy that had I lived during the time of the Spanish Civil War, I would naturally have run off and enlisted in a militia like that of the POUM Orwell was affiliated with, and put my body on the line in the struggle against fascism.

And not just to fight against something, either, but for something as well — for the total vision of emancipated life that emerged during the years of struggle in Spain. The POUM, of course, was committed to a fiercely egalitarian politics, even under the pressures of the front line; in the militia that fought beneath their banner, “[t]here were no visible differences between ranks, no saluting and no differentials in pay,” while combat tactics and plans of action were often debated among the fighters expected to enact them. (And they weren’t even anarchists!) Meanwhile, behind the lines, in the cities and lands under revolutionary control, entirely new forms of collective life were emerging.

For most of my adult life, this was one of the precious few examples of actually-existing anarchism any of us could point to. We could celebrate the real improvements in status and condition won by revolutionary Spanish women, in the “double struggle” against gender and class oppression. We could emphasize, with almost equal pride, the fact that material production and even technology-intensive urban infrastructure like tramways or the telephone network prospered in the sectors under democratic management. And we could further argue, with a good deal of justice, that this experiment in popular control ended not because it collapsed beneath the weight of its own accumulated contradictions, but because it was destroyed from the outside — directly by the Nazi-armed and -supported Nationalists, and indirectly via the perfidy of the parties aligned with Moscow.

Nevertheless, destroyed it was. And curiously, that made the Spanish experience of revolution safe for those of us who took inspiration from it so many years down the line. For one thing, whatever difficult realities, compromises or oppressions emerged during the months of popular control, they were interred in glorious defeat along with the insurgents themselves. Neither those brave souls nor their overseas admirers ever had to reckon with the unresolved tensions of large-scale governance and self-management over the longer term. But also, however those tales of heroism on the barricades and in the trenches may have quickened our blood, with no real way to act on them, it became cheap and easy to imagine oneself into the narrative. You could puff out your chest and say, “Oh, yeah, I would have shipped out, signed on with the Abraham Lincoln Brigade, and killed me some Fascists,” with nobody and nothing to stand in the way of your self-righteous posturing.

With another experiment in popular control really unfolding in our time, though, Rojava has put such fantasies to the test, and me along with them. The question isn’t, what are “we” going to do for Rojava? It’s what am I going to do for Rojava, for this land that never was, where the people are somehow, miraculously, against every certainty of geopolitics, both putting Murray Bookchin’s beautiful thought into practice, and setting Daesh to flight at the same time?

Without hyperbole, there is literally no question in our lives more important, nor likely to be, at least for those of us moved by currents of the antiauthoritarian or horizontalist left. For us, especially, the way we answer it will determine whether we really mean our politics, and intend to see them through — with all the risks and pitfalls that entails — or prefer to see them safely, gloriously dead and in the ground, where we can haul them out a few times a year to mourn what could have been.

“Against the smart city”: Impact metric

I’m fairly sure that I share with most other writers the uneasy sense that every word issuing from my keyboard ultimately flies off into the great void. I go to sleep at night safe in what is surely the statistically reasonable belief that the things I write are at best parsed quickly, in a state of distraction, and never really land in any meaningful way. This isn’t occasion for bitterness or resentment, mind you. It’s just the inevitable consequence of living in a time of massive informational overload. There’s such fierce competition for each precious increment of attention, and the kind of things I write about, by their very nature, have a hard time crowding out other claims. It’s something you learn to accept if you hope to face the world with anything like equanimity, let alone cheer.

Maybe this is why I felt such a gut-deep thrill at learning that some Minnesota activists opposed to the testing of a new autonomous shuttle hung this banner from an overpass last night. If nothing else, it suggests that at least some of what I tried to express in “Against the smart city” escaped the abyss, and managed to register somehow. I’m sure this is laughably small potatoes from the perspective of anyone whose contributions actually do shift the global discourse, but for a decidedly non-A-list writer, such evidence of impact is supremely gratifying.

I am — naturally, because this is me — ambivalent about the idea that my work can be mobilized in the context of this specific protest. I think it’s far from clear that autonomous mobility will necessarily drive the oppressive métro, boulot, dodo cycle of late capitalism, as this particular protest assumes, and that there’s a decent argument to be made that if properly designed, it will physically concretize the right to the city in a way few other modes of getting around have ever been able to — particularly for citydwellers of limited personal mobility.

Nevertheless, that “if properly designed” is a major stumbling block, it’s far too late in the day to place any stock in the good will or benevolent intentions of would-be technological disruptors, and in any event, intent isn’t magic. People are right to question every aspect of the propositions they’re confronted with by smart-city advocates — to question, ascertain whether what is to be installed accords at any point with their needs and desires, and protest, disrupt and prevent the deployment of anything that does not. And that very much includes mobility systems whose designers cannot adequately justify the thing they have conceived, either to their intended audience, or to the communities through which their infrastructure runs.

At present, I don’t know enough about the Hennepin County autonomous-mobility test to determine whether or not I personally would oppose it. But then, I don’t live there. It’s enough for me to know that at least some of the people who do have yet to be convinced that it’s anything but a harbinger of exploitation and oppression yet to come. I’m delighted, and deeply gratified, to see my words invoked in their struggle.

PS If anyone responsible for this banner should happen to see this, please do get in touch — anonymously, if you prefer. I’d love to hear from you.

The extended Acknowledgments

With Radical Technologies finally out and — to my amazement and deep satisfaction — receiving the most extraordinarily generous notices, I think it’s a good moment to pause, take a breath, and take stock of how it is that I’ve rolled up on these shores.

In the course of a life, if you’re very lucky, you run into people who through their words and deeds launch you on a completely new and better trajectory than the one you arrived on. There’s actually quite a bit more than luck involved, of course; one of my favorite definitions of “privilege” glosses it as a state in which your personal networks tend to help you achieve your ambitions, rather than suppressing or undermining them. But there’s unquestionably room in all of this for the operations of chance.

Looking back now, I can see a few clear and obvious inflection points in the journey that resulted in me being able to write and publish Radical Technologies, and without exception they were moments at which a specific individual human being intervened in my life in a conscious attempt to change my fortunes for the better. And what strikes me with particular force is how contingent all of these encounters were. They so easily could have gone another way — any other way. And had that been the case, it is overwhelmingly likely that my life as I know it wouldn’t exist.

What follows, then, is my (no doubt flawed and incomplete) attempt to name and thank these human beings for making the decisions they did. I want them, and you, to know that wonderful things happened in the aftermath of those choices.

Juliana Uruburu, Dwight Jackson, Dave Dunn, Tori Orr, Anne Galloway, Christina Wodtke, Jeffrey Zeldman, Andrew Otwell and Chris Heathcote: thank you for seeing what nobody else could, and for acting on what you thought you saw. You all have my profound and permanent gratitude. Adriana Young and Leo Hollis, of course, I’ve already thanked in the book itself. Maya Lin extended to me, at a critical moment, a gesture of big-sisterly kindness that she will have long ago forgotten, but which meant everything to me. And a few other people along the way, sadly no longer with us, who said or did things that changed the entire course of my existence. (Here I’m thinking primarily of Herbert Muschamp, who I miss all the time, and the great Red Burns at NYU’s Interactive Telecommunications Program, who took a gamble on letting me teach there when there was no obvious reason to do so. May their memory be a blessing.)

A brief note on “commoning”

I got taken to task the other day regarding my preference for the jargony-seeming construction “commoning” over the more usual “commons.” (The specific wording: “You say you hate bullshit, but ‘commoning’ seems like just so much bafflegab to me.”)

This brilliant 2010 interview with key thinker/doers Massimo de Angelis and Stavros Stavrides ought to go some distance toward explaining that preference; it’s lost none of its luster with the intervening years, despite everything that’s happened in the world over that period.

In the effort to define a space for living that is neither market nor state, De Angelis and Stavrides make it clear that the act of seizing and occupying it is the easy part. All the glamor and all the grandeur attend that first nervy moment when wirecutters meet chainlink. But precisely who gets saddled with the obligation of continuously remaking that space? Who’s left with the physical work of maintenance, the emotional labor of negotiation? It’s a process, not a reified thing, and that in turn seems to demand the gerund form, with its implication that this is something unfolding in time: commoning.

Yeah? No? Works for me.

On counter-hegemony, or: “I got it! We’ll have them write hit songs.”

At the moment, I’m neck-deep in my Verso stablemates Nick Srnicek and Alex Williams’s still-newish book Inventing the Future; things remaining more or less stable schedulewise, I’ll most likely finish it later on today, or tomorrow at the latest.

It’s a strange book, Inventing. You may have caught some of the buzz around it, and that buzz exists for good reason. (It’s not just the superspiffy totebags Verso had ginned up for it, though I’m sure those do not hurt one whit.) At its heart a passionate argument against work and for an end to neoliberalism and its reality control — forged along the same rough lines as those Paul Mason and the Fully Automated Luxury Communism kids are currently touting — Inventing is a genuinely curious mixture of crystal-clear analysis, righteous provocation and infuriating naivety. If you’re even remotely interested in what emergent technologies like machine learning and digital fabrication might imply for our capacity for collective action, and especially if you think of yourself as belonging to the horizontalist left, you should by all means pick it up, read it for yourself and form your own judgments. (Here’s Ken Wark’s take on it; I endorse most of his thoughts, and have a great deal of my own to add, which I’ll do in the form of my own forthcoming book.)

Late in the book there’s a passage concerning the stance Srnicek and Williams feel the postcapitalist left needs to adopt toward the mainstream media: if the “counter-hegemonic” project they describe is to have any hope of success, they argue, “it will require an injection of radical ideas into the mainstream, and not just the building of increasingly fragmented audiences outside it.”

Well. It must be said that this is not one of the book’s high points. In its latent suggestion that the only reason Thomas Piketty and Donna Haraway aren’t cohosting a lively, popular Sunday-morning gabfest on NBC right this very moment is because we, the progressive public, are somehow not trying hard enough, or have failed to sufficiently wrap our pointy heads around the awesome conditioning power of the mass media, in fact, it’s somewhere between irritating and ridiculous. (It’s hard for me to see how Srnicek and Williams’s argument here is substantively any different from that stroke of market-savvy inspiration the beloved but famously marginal Minutemen skewered on the cover of their second-to-last album. And now you know where the title of this post came from.)

Nevertheless, they’re onto something. Though that more-than-faintly patronizing tone never quite dissipates, S&W eventually find themselves on far firmer ground when they argue that “[l]eftist media organizations should not shy away from being approachable and entertaining, gleaning insights from the success of popular websites.” I was able to shake off the momentary harrowing vision I had of Leninist Buzzfeed, and press on through to what I take to be their deeper point: radical thought can actually resonate broadly when care is taken to craft the language in which that thought is expressed, and still more so when insular, self-congratulatory obscurity is avoided in the design of its containers. I endorse this notion wholeheartedly. This recent appreciation of Jacobin hits many of the same notes; whatever you think of Jacobin‘s politics, it’s hard to deny that its publishers consistently put together a sprightly, good-looking read. (I’d call it “the Monocle of the left,” but that would be to imply that Monocle‘s content is far more compelling than in fact it is.)

You might still argue that S&W ought to spend a little more time with McLuhan. My own feeling is that there’s more to distrust about the “mainstream media” than merely its overtly political content — that consuming information in the form of tweets, listicles, Safety Check notifications, screens overloaded with crawlers, and possibly even glowing rectangles themselves is hard to square with the kind of awareness I at least find it necessary to cultivate if I’m to understand anything at all about the way the systems in which I’m embedded work.

But ultimately, these are quibbles. I agree with S&W when they argue that overthrowing the weaponized “common sense” of the neoliberal era is an explicitly counter-hegemonic project; that developing a functioning counter-hegemony is something that requires longterm commitment; and that those with truly radical programs need to reconsider the relationship between “pop,” “popular” and “popularity” if that whole hearts-and-minds thing is ever going to work out for them. (I’m honor-bound to point out that Saul Alinsky said as much fifty years ago, but perhaps that too is a quibble.) So: no. I have no problem at all with presenting complex and potentially challenging ideas accessibly, so long as they can be rendered accessible without dumbing them down. If successful counter-hegemonic media looks a whole lot more like a Beyoncé video than some preciously anti-aesthetic art installation, so much the better. Bring on the hit songs.

Antecedents of the minimum viable utopia: Cliff Harper’s “Visions” series

Clifford
Clifford Harper, Vision 1: Collectivised Garden, in Radical Technology, 1976.

Twenty-five years ago, just after the outbreak of the first Gulf War, I moved into an anarchist co-op in the Upper Haight. (If you know the neighborhood at all well, you’ve almost certainly stood beneath my room: the bay window jutting directly above the ATM on Belvedere Street, at the time and for many years thereafter the only one for over a mile in any direction.) Though its every fiber was saturated with the sad pong of sexually deprived male bitterhippies in early middle age, the flat nevertheless (/therefore?) boasted one of the most impressive specialist libraries I’ve ever encountered.

No doubt because many of the flat’s residents had historically been associated with the Haight’s anarchist bookstore, Bound Together, its shelves had over the years accumulated hundreds of rare and unusual books on squatting, DIY technique, self-housing, revolutionary syndicalism, the politics of everyday life and so on. Among these was a curious 1976 volume called Radical Technology. Something between a British Whole Earth Catalog and an urban Foxfire book, Radical Technology presented its readers with a comprehensive and detailed blueprint for self-reliant, off-the-grid living.

Each of the book’s sections was fronted by an elaborate illustration depicting what typical British spatial arrangements — terraced housing, allotments, council estates, parish churches — might look like after they’d been reclaimed by autonomist collectives, in some not too terribly distant future. Unlike some of the more heroic imaginaries that were floating around in that immediate pre-Web epoch, you could readily imagine yourself living in their simple everydayness, making a life in the communal kitchen and sauna and printmaking workshop they depicted. From the material-economic perspective of someone residing in a shabby flat in the Upper Haight circa 1991, struggling to eke out a living as the city’s worst and clumsiest bike messenger, it would clearly be a good life, too: austere, perhaps, in some ways, but fulfilling and even generous in every register that really counts. (To be sure, this was a sense the illustrations shared with contemporary real-world outcroppings of late hippie technology in both its particularly British and its Bay Area variants, and I’d seen traces of it crop up in squats and urban homesteads back East, wherever someone resident had been infected by the Whole Earth/Shelter/Pattern Language ethos.)

I clean forgot about Radical Technology for a quarter century, but I never did forget those drawings. I had no way of reconsidering them, though, let alone pointing anybody else at them, until the other day, when Nick Durrant recognized my vague handwavings for what they were: a description of the “Visions” series anarchist illustrator Clifford Harper contributed to the mid-70’s British journal Undercurrents. (These issues of Undercurrents were subsequently anthologized as the book I’d come across; here’s scans of Harper’s entire series.) I had to smile when I read the account of “Visions” on Harper’s Wikipedia entry, as it could not possibly have been more on the nose:

These were highly detailed and precise illustrations showing scenes of post-revolutionary self-sufficiency, autonomy and alternative technology in urban and rural settings, becoming almost de rigueur on the kitchen wall of any self-respecting radical’s commune, squat or bedsit during the 1970s.

My memory of Harper’s “Visions” returned with such force not because I’d suddenly developed nostalgia for the lifeways of alternative San Francisco in the first ripples of its death spiral — though those house-feedingly enormous vegetarian stir-fries sure were tasty — but because the way of doing and being they imagined seems relevant again, and possibly more broadly so than ever before.

Something is clearly in the air. The combination of distributed, renewable microgrid power with digital fabrication, against a backdrop of networked organization, urban occupation and direct action, seems to be catalyzing into a coherent, shared conception of a way forward from the mire we find ourselves in. Similar notions crop up in Paul Mason’s Postcapitalism, in Jeremy Rifkin’s The Zero Marginal Cost Society (the particular naivety of which I’ll have more to say about in short order), in Nick Srnicek and Alex Williams’ Inventing the Future, and the same convergence of possibilities animated my own first pass at articulating such a conception, a lashed-up framework I rather cheekily called the “minimum viable utopia.”

These conceptions of the possible are all pretty exciting, at least to those of us who share a certain cast of mind. What they’re all missing, though, to a one, is a Cliff Harper: someone to illustrate them, to populate them with recognizable characters, to make them vivid and real. We need them to feel real, so when we print them out and hang them on the walls of flats where the rent is Too Damn High and the pinboard surfaces of the cubicles where we grind away the mindless hours, we remember what it is we’re working so hard to bring into being.

At the very least, we need them so that those who follow us a quarter century from now understand that they too belong to a lineage of thought, belief and action, just as anyone who’s ever been inspired in their work by the Harper illustrations does. Some days, just knowing that line through time exists is enough to get you through the day.

Making the place of democracy

Compare and contrast:

SHoP Architects, Dunescape, for the 2001 MoMA/P.S.1 courtyard competition.

SHoP Architects, Dunescape, 2001

Álvaro Siza and Eduardo Souto de Moura with Cecil Balmond, 2005 Serpentine Pavilion.

Álvaro Siza and Eduardo Souto de Moura with Cecil Balmond, Serpentine Pavilion, 2005

Zuloark Collective, el Campo de Cebada, Madrid, 2010.

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raumlabor Berlin, The Generator, 2010 (image by Flickr user raumforschung.)

raumlabor Berlin, The Generator, 2010, by Flickr user raumforschung

Two of these projects involve the deployment of digital design and production techniques to create platforms for small-group conviviality, nestled inside larger spaces generally associated with high culture and the flows of capital that support it. The other two involve the use of low-end, commodity material to create platforms for face-to-face deliberation and the practice of democracy (as well as conviviality), deployed in marginal, interstitial or outright occupied spaces.

The appearance of a parallel evolution in these admittedly cherry-picked examples may say more about my wishful thinking than anything else. But it seems to me that there’s clearly something going on here, in the convergence of sophisticated digital design, on-site fabrication and software for the near-real-time user configuration of space in what we might call lightweight placemaking. In all of these projects, we see an emphasis on rapid mountability and demountability, and the mobility and highly sensitive user control they afford. We see high technique brought to bear on utterly commodified, widely available, broadly affordable (even free) materials. And we see these things used to bring people together, both to enjoy one another’s company and to discuss such matters of concern as arise before them.

There’s an especially lovely symbolism to the use of such humble materials in making the place of democracy, and if the use of commodity lumber doesn’t involve quite the same material rhetoric as the use of marble in the ennobling public spaces of the late 19th and early 20th centuries, well, neither is the public being invoked the same.

— SEE ALSO: Francis Cape’s We Sit Together, a history of the wooden bench in the American intentional-community tradition. Image courtesy Murray Guy Gallery.

Francis Cape's Utopian Benches at Murray Guy Gallery, NYC, 2013