Graeber, p. 278, on 'activist culture' :
'One thing that emerges from all this is the constant preference for places of construction - or, sometimes, destruction - where the ordinary surface of life are being patched together or torn down. (Black Blocs, as we'll see, have a love of construction sites, and finding improvised uses for industrial fencing, dumpsters, and the like.) Industrial environments.
'The idea seems to be, to couch the matter in appropriately Situationist terms, to poke behind the spectacle and hover instead as much as possible around the grimiest most unlovely places where the spectacle itself is produced; there to create one's own spectacles, perhaps, but collectively, transparently, in a participatory fashion without the split between backstage and onstage, between workshop and shop floor, that is the original form of all alienation.'
p. 279 : 'Another activist house is on an abandoned, overgrown street in Brooklyn between a lumberyard and a municipal parking lot, where school buses are tucked away - all these are things you're not normally supposed to remember even exist.
'Most rooms in Charas or Chashama are theaters where there is no formal stage, every place is stage and behind the scenes simultaneously.'
Mes vieilles 'coulisses du signe', souffertes, puis aimées comme mobilité du vivant histoire et lieu photographique. Mes 'travaux publics', mes passions du milieu et de la fabrique de l'officiel et du public. Lieu même, 'usine à temps', du public - de l'histoire au près. Même dans les conditions de retraite, sociologiquement lisibles, qui sont mes timidités. La mesure d'aventure dont je suis capable.
'One thing that emerges from all this is the constant preference for places of construction - or, sometimes, destruction - where the ordinary surface of life are being patched together or torn down. (Black Blocs, as we'll see, have a love of construction sites, and finding improvised uses for industrial fencing, dumpsters, and the like.) Industrial environments.
'The idea seems to be, to couch the matter in appropriately Situationist terms, to poke behind the spectacle and hover instead as much as possible around the grimiest most unlovely places where the spectacle itself is produced; there to create one's own spectacles, perhaps, but collectively, transparently, in a participatory fashion without the split between backstage and onstage, between workshop and shop floor, that is the original form of all alienation.'
p. 279 : 'Another activist house is on an abandoned, overgrown street in Brooklyn between a lumberyard and a municipal parking lot, where school buses are tucked away - all these are things you're not normally supposed to remember even exist.
'Most rooms in Charas or Chashama are theaters where there is no formal stage, every place is stage and behind the scenes simultaneously.'
Mes vieilles 'coulisses du signe', souffertes, puis aimées comme mobilité du vivant histoire et lieu photographique. Mes 'travaux publics', mes passions du milieu et de la fabrique de l'officiel et du public. Lieu même, 'usine à temps', du public - de l'histoire au près. Même dans les conditions de retraite, sociologiquement lisibles, qui sont mes timidités. La mesure d'aventure dont je suis capable.
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