07.06.2013 Views

Complexity and Social Movements: Multitudes at the Edge of Chaos ...

Complexity and Social Movements: Multitudes at the Edge of Chaos ...

Complexity and Social Movements: Multitudes at the Edge of Chaos ...

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

3 Reflexive framing<br />

Identities, protest dynamics <strong>and</strong><br />

technology<br />

Introduction<br />

This chapter gives an account <strong>of</strong> <strong>the</strong> Prague pl<strong>at</strong>eau, a carnivalesque<br />

contest<strong>at</strong>ion <strong>of</strong> <strong>the</strong> IMF WB meeting held in September 2000. Our account<br />

draws on a range <strong>of</strong> sources including direct observ<strong>at</strong>ion <strong>and</strong> video capture,<br />

interviews with activists from <strong>the</strong> Czech Republic, United Kingdom <strong>and</strong><br />

United St<strong>at</strong>es, Czech, print media coverage, samizd<strong>at</strong> m<strong>at</strong>erials, activist<br />

video accounts <strong>and</strong> Indymedia sites. Through <strong>the</strong>se diverse sources, we are<br />

able to capture something <strong>of</strong> <strong>the</strong> multi-layered n<strong>at</strong>ure <strong>of</strong> <strong>the</strong> meanings <strong>and</strong><br />

processes structuring this pl<strong>at</strong>eau, rendering <strong>the</strong> underlying complexity<br />

visible. Analytically we focus upon <strong>the</strong> rel<strong>at</strong>ionship between various forms<br />

<strong>of</strong> technological medi<strong>at</strong>ion widely regarded as central to global protests.<br />

CMC technologies are central to <strong>the</strong>oretical accounts emphasising <strong>the</strong><br />

importance <strong>of</strong> network actors (Castells 1996, Hardt <strong>and</strong> Negri 2000, 2004)<br />

as emergent phenomena. Our account reveals <strong>the</strong> continuing importance <strong>of</strong><br />

technologies th<strong>at</strong> are more ‘mundane’, face-work contacts <strong>and</strong> mobilities<br />

through which a ‘virtual network’ is transformed into concrete acts <strong>of</strong><br />

contest<strong>at</strong>ion. In this context <strong>the</strong> represent<strong>at</strong>ion <strong>of</strong> acts <strong>of</strong> contest<strong>at</strong>ion<br />

within <strong>the</strong> public sphere assume a position <strong>of</strong> centrality in a struggle for<br />

legitimacy over world (dis)order. Underst<strong>and</strong>ing <strong>the</strong> dynamics <strong>of</strong> such<br />

contest<strong>at</strong>ion is dependent upon a degree <strong>of</strong> immersion within <strong>the</strong> network<br />

<strong>of</strong> networks oper<strong>at</strong>ing as a ‘shadow realm’ (Welsh 2002) constituting<br />

subterranean structures which o<strong>the</strong>rwise remain invisible.<br />

‘Protests’ with a carnivalesque or dram<strong>at</strong>urgical element are complex<br />

social events expressing multi-layered cultural meanings which are symbolically<br />

coded <strong>and</strong> enacted with <strong>the</strong> potential to reson<strong>at</strong>e or clash with wider<br />

social represent<strong>at</strong>ions <strong>and</strong> perceptions. The action against <strong>the</strong> WB/IMF<br />

bank meeting in Prague on 26 September 2000 contained all <strong>the</strong>se familiar<br />

elements, but brought toge<strong>the</strong>r ‘n<strong>at</strong>ional’ protest repertoires from across<br />

Europe <strong>and</strong> beyond. Such events are typically ‘known’ <strong>and</strong> ‘framed’<br />

through <strong>the</strong>ir appearance within <strong>the</strong> public sphere in print <strong>and</strong> broadcast<br />

media. Media ‘snapshots’ such as <strong>the</strong>se even form <strong>the</strong> methodological basis<br />

for some compar<strong>at</strong>ive social movement studies, despite being based on

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!