[-empyre-] Contextual Glitch

magnus lawrie magnus at ditch.org.uk
Thu Mar 1 09:26:13 EST 2012

Hi Gabriel and all,

More quotes, these from Pasquinelli "The Ideology of Free Culture and
the Grammar of Sabotage"


Perhaps they will resonate also with Rob's remarks on rent.

On Wed, Feb 29, 2012 at 01:52:37PM +0000, Gabriel Menotti wrote:
> Again, to bring back one question from the previous week: wouldn’t
> these art (‘critical’?) practices profit from moving away from the
> discipline of aesthetics altogether?

"Because of the immateriality and anonymity of rent, the grammar of
sabotage has become the modus operandi of the multitudes trapped into
the network society and cognitive capitalism. The sabotage is the only
possible gesture specular to the rent — the only possible gesture to
defend the commons."

> What comes to my mind is Hito Steyerl’s take on the “poor image” (or
> Francesco Casetti’s idea of “relocations”), in which the “aesthetic”
> loss in embraced in favour of economic gains (e.g. cost, speed -
> mostly access). Given these parameters (which are not merely
> contextual, but operational), a tension with the market seems
> nonetheless to persist.
> The market can always co-opt the look&fell of, say, CAM movie
> recordings – but can it co-opt piracy?

'...does "good" digital piracy produce conflict, or does it simply
sell more hardware and bandwidth? Is "good" piracy an effective hazard
against real accumulation or does it help other kinds of rent

Best wishes,


> What about the art establishment?
> > Are there ways in which the background,
> > the context, the story, the meaning can be
> > foregrounded within noise works? [AP]
> It seems to me that such works still carry some of their “meaning as
> failure”, making a degree of (counter-?)contextualization necessary
> for their circulation in less informed channels.  For instance, at
> some point in G/L.ITC//H Birmingham, Iman Moradi was telling me that
> the infamous Kanye West video didn’t last long on MTv because the
> unaware spectators thought its special effects were a real glitch.
> Could this be an explanation for the integrity of the community of
> glitch artists, as an environment that promotes a proper understanding
> of its own production?
> On the other hand, how much effort does the market needs to do in
> order to appropriate oppositional aesthetics? And how does this
> appropriation relate to (or build) public expectations?
> Best!
> Menotti
> _______________________________________________
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> empyre at lists.cofa.unsw.edu.au
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