Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
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110 Jesse Drew<br />
community radio stations, now in the process of becoming established. The<br />
possibility for communication and for an end run around mass media and the<br />
culture industries was heartening. Many saw the uprising of the Zapatista<br />
rebellion of indigenous peasants in Chiapas, Mexico, and its poet-leader<br />
Subcommandante Marcos as especially inspiring, with its fusion of art and<br />
politics. In a videotaped statement to a cultural gathering in Mexico, organized<br />
by Rage Against the Machine and others, Zapatista spokesperson Subcommandante<br />
Marcos, holding a guitar, says:<br />
If you would like me to sum it up, I would tell you that we made ourselves soldiers like<br />
that so that one day soldiers would no longer be necessary, as we also remain poor, so that<br />
one day there will no longer be poverty. This is what we use the weapon of resistance for.<br />
Obviously, it is not the only weapon we have, as is clear from the metal that clothes us.<br />
We have other arms. For example, we have the arm of the word. We also have the weapon<br />
of our culture, of our being what we are. We have the weapon of music, the weapon of<br />
dance. We have the weapon of the mountain, that old friend and compañera who Wghts<br />
along with us, with her roads, hiding places and hillsides, with her trees, with her rains,<br />
with her suns, with her dawns, with her moons. 13<br />
It was many of these ideas of cultural activism, media criticism,<br />
and culture-jamming that inspired video activists and media activists to come<br />
together around the planned World Trade Organization protest in Seattle in<br />
1999. Armed with a myriad of new media tools and the network capability<br />
of instantaneous Internet access, an organism coalesced around the creation<br />
of an Independent Media Center (IMC), now a model for the surging tide of<br />
worldwide independent media production. That such an effort reached fruition<br />
largely from electronic exchanges between mediamakers is testimony<br />
to the promise of networks. Independent Media was born amid the chaos of<br />
tear gas and truncheons, in a chorus of digital images, sounds, and text. The<br />
IMC model has brought forward a new generation of collectives, now no<br />
longer limited by physical proximity, but united around the idea of cultural<br />
expression of truth and justice, built around temporary <strong>autonomous</strong> zones<br />
and Xash mobs. There are now many IMCs around the world.<br />
Comparing the Independent Media Center’s coverage of the “Battle<br />
of Seattle” with TVTV’s ground-breaking coverage of the Nixon Republican<br />
Convention in Miami Beach in 1972, Four More Years, one sees both<br />
the similarities and the differences between contemporary collective media<br />
production and those of the 1970s. Much of the motivation remains the<br />
same, and as Sturken says about the early 1970s collectives,<br />
While the members of these collectives were artists (and many still are practicing artists),<br />
their concerns with amassing alternative information, addressing issues of media and<br />
technology, and their pluralist approach to documenting history were antithetical to the<br />
way in which discussions of video evolved in the art world. The belief structure of art in