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To read Part 2 of this article visit this link: http://www.furtherfield.org/articles/trajectories-how-reconcile-careerist-mentality-our-impending-doom-part-24
Drawing together the diagnoses which recur throughout the literature of the moment, such as Capitalist Realism: Is There No Alternative? (Fisher 2009), First as Tragedy, Then as Farce (Zizek 2009a) and The Coming Insurrection (The Invisible Committee 2009) alongside the key suggestions, ideas and solutions from these two manifestos, our ‘plan of action’ begins to materialise.
In the spirit of Pascal’s famous ‘wager’ (Hajek 2008) the plan aims to cover all bases: our active and / or passive responses to the situation. Encouraging the belief that we might still be able to use our roles as artists to incite the radical change to our societal structure (in the art world and globally) needed to avert climate catastrophe, whilst simultaneously developing philosophies for coping with our lives – finding meaning and happiness – should our active response fail.
The seven points below offer a set of guidelines for rethinking our lives, which should act as the starting points for redefining our roles as artists and thinking about how it might be possible to reconcile ‘the careerist mentality’ into which we have been inculcated with the possibility of ‘our impending doom’:
1. stand back and view the world objectively
The main focus of Uncivilisation and our greatest existential priority is to enable ourselves to grasp perspective, not only of the relative insignificance of our individual career plans within the wider world, but more pertinently of the fragility of our entire species within the greater timescales of the universe. Once this mind shift is achieved it becomes easier to distil what is actually important in our lives – happiness and our two unending desires for survival and meaning (Kingsnorth & Hine 2009, p.2). Only then will the remaining six points become easier to implement.
2. offer an external critique of the system
In our new ‘state of mind’ it becomes easier to see the systems in which we have been blindly functioning. From beyond the grasp of the dominant hegemony we can offer a vital ‘external critique’. As Chantal Mouffe suggests, our duty as artists then becomes to challenge the “given symbolic order” and the “existing consensus” (Mouffe 2007) – to revivify the belief that ‘an alternative’ is possible.
3. develop ways or working outside institutions
Our criticisms should extend to the hegemony of the art world, severing our dependence on “legitimisation” (Araeen & Appignanesi 2009, p.500). We must have the courage of conviction in our ideas to find ways of operating outside of art world institutions, especially the marketplace. We require what Mark Fisher describes as a “positive disengagement” – a protest of sorts – which should take the form of “collective activity” (Fisher 2006) to help us break out of our entrepreneurial solitude…
4. escape solipsism; work with and not against peers
As individual artists, working alone, we typify the global trend towards what Adam Curtis calls the “empire of the self” (Curtis 2002), in which anxiety and paranoia are rife. For Araeen, it is this “extreme self-centred individualism of art today” which is “a disturbing symptom of its detachment from our collective humanity” (Araeen 2009, p.679). And so, we must prioritise “collective activity” (Fisher 2006), learning to work in co-operation rather than competition with our friends. Peer support will relieve our paranoia and allow our capacities for empathy to be resuscitated.
5. reject ego and embrace anonymity
Collaboration will enable us to surrender our egos to the collective force; liberating our ideas from their “containment” (Araeen & Appignanesi 2009, p.500). We should “flee visibility” and embrace the new powerful, but faceless forms of resistance being pioneered by The Invisible Committee – encouraging us to turn our “anonymityâ€¦ to our advantage” (The Invisible Committee 2009, pp.112-3).
6. create free ideas, not objects for sale
Our role as artists should be to focus on the creation of ideas, not the production of objects. The rejection of commodity is an important part of our ‘disengagement’ from the marketplace. Our ideas should not remain private property and should be gifted to the ‘creative commons’ for the ‘public good’ (Blackburn 2009). As Hakim Bey suggests in his book Immediatism, “The more imagination is liberated and shared, the more useful the medium” (Bey 1994, p.36).
7. abandon the trajectory; find motivation in immediacy, not legacy
We must cease to think of our art as a means to an end; a way of getting somewhere – into a book, a magazine, an exhibition etc, as it is pointless to base our motivations on a future which will, very likely, not be able to function as the present does. We should abandon the very notion of a career trajectory and learn to focus our attentions on the reality of now. Without an overpowering emphasis on the future our anxieties will begin to dissolve and we will be able to unearth the absolute state of happiness that exists in the “continuous present” (Crisp 1996, p.54). We must remain alert and not complacent, notice and appreciate the things which are actually good and, as Kurt Vonnegut suggests, continually remind ourselves “if this isn’t nice, I don’t know what is” (Vonnegut 2003).
The ‘plan of action’ forms the basis of a new ideology, which acts as a counterpoint to neoliberalism – advocating our extrication from the system of capital that is the “ultimate cause” (Fisher 2009, p.70) of our environmental crisis. Heavy on words such as ‘abandon’, ‘reject’, ‘stand back’ and ‘disengage’ it calls us to make radical changes. It demands that we overcome our “path dependency” (Abbing 2002, p.96) by shifting our goals away from the fantasy status of the ‘successful’ artist. It all makes our new role seem far less glamorous than our dreams may have envisaged – insisting that we renounce our vanity, abandon our egos, move towards collectivism and anonymity; in short, commit “career suicide” (Sharp 2010, p.52).
But would it really be so beneficial to scrap everything and start again – to admit that our lives up until this point had been “lost causes” (Zizek 2009b)? The emphasis of this essay is on the possibility of reconciliation. Therefore, it aims to explore what positive characteristics of ‘the careerist mentality’ that has driven us to take this individualistic path, we might be able to “salvage” (Williams 2009) and, in doing so, reconfigure to become a positive force that can help us put the plan into action all the more effectively: to take the necessary risks and make a stand for the ‘right’ ethical choice.
Counter to Kant’s belief that the fields of ethical decision making (part of ‘practical reason’) and aesthetic decision making (part of ‘judgement’) be kept separate (Guyer 2004), it appears that the gravity of the situation we face means that these two spheres must begin to coincide. Indeed, in his final book Chaosmosis: An Ethico Aesthetic Paradigm, Felix Guattari argues for the culminating phase of art to be one in which it has an integral relationship with ethics (Guattari 2006). And so, the ethical implications of the ‘plan of action’ become difficult to ignore. Its focus on ‘tugging our attention away’ from our obsession with our own lives to reconnect with our “collective humanity” (Araeen 2009, p.679) is clearly a moral proposition, soliciting a shift from prudent self-interest towards more altruistic behaviour.
The conflict that emerges between the self-interest of ‘the careerist mentality’ and the apparently selfless altruism called for by several points of the ‘plan of action’ has long been the concern of moral philosophy. The recurring question being whether they can ever coexist or be reconciled. In her essay Altruism Versus Self-Interest: Sometimes a False Dichotomy, Neera Kapur Badhwar argues that in certain cases, where individuals display particular characteristics, reconciliation of these traditional polarities is possible (Badhwar 1993).
Badhwar’s essay is based on the analysis of extreme instances of altruism (in this case the behaviour of those who rescued / harboured Jews from the Nazis in the Second World War). What is interesting, and indeed relevant, is the way in which she demonstrates how these definitive acts of altruism are able to coexist with self-interested motivations. Her argument is based on an extension of the categories of self-interested motivation from “feeling virtuous, becoming famous, gaining wealth” (Badhwar 1993, p.101) – equate these to the artist’s extrinsic motivations “money, recognition, fame” (Abbing 2002, p.82) – to include “integrity and self-affirmation” (Badhwar 1993, p.101) – read the artist’s intrinsic motivations of “inner gratification or private satisfaction” (Abbing 2002, p.82). Even though she acknowledges that these altruistic acts were carried out with an “awareness of the risk, in the absence of expectations of material, social, or psychological rewards [and with] the spontaneity of their choice to help” (Badhwar 1993, p.96), she demonstrates that it was precisely because these individuals took the risk that they were able to satisfy the:
“fundamental human interest, the interest in shaping the world in light of one’s own values and affirming one’s identity.” (Badhwar 1993, p.107)
Furthermore, she unearths another peculiarity at the heart of the dichotomy of individualism / collectivism (Triandis 1995) which also becomes key to the possibility of reconciliation. The individuals that she studied were compelled to carry out these altruistic acts because they were able to perceive of themselves as part of the “collective humanity” (which Araeen demands we reconnect with) and so had a more developed capacity for empathy. But, moreover, that it was something inherent in their individualism that gave them the “confidence in the value of their mission, and their own capacities for carrying it out” (Badhwar 1993, p.100): to stand away from the crowd and to stand up for what they believed to be right.
Following Badhwar’s argument, it becomes possible to identify the first of the characteristics of ‘the careerist mentality’ we should aim to salvage. For it is our “flair, self-assurance, andâ€¦ sense of audacity” (Abbing 2002, p.95) which we shall have to depend on in order to take the risk necessary to make a stand against the mainstream.
What might it look like if we took the risk? What might we end up with if we followed the points in the ‘plan of action’ to the word? It is possible that rather than resulting in a radical new type of art practice, what would actually take place is a shift away from art and into the field of activism.
The Clandestine Insurgent Rebel Clown Army (CIRCA) was formed in 2003, to mark the official state visit of George W Bush to London at the onset of the Iraq war. It aimed to bring together “the ancient practice of clowning and the more recent practice of nonviolent direct action” (CIRCA 2003) – staging a series of strategic protests as part of an ongoing offensive against the evils of ‘war’ and ‘capitalism’. Before the protests at the G8 Summit at Gleneagles in 2005, the Rebel Clown Army embarked on a national recruitment tour of the United Kingdom. Anyone and everyone was invited to join, the only stipulation being that Basic Rebel Clown Training (BRCT) was first undertaken.
Much like the ‘plan of action’, the BRCT process focuses on the individual’s emancipation – on “transformation” and “personal liberation” from the dominant hegemony (CIRCA 2003). This internal reprogramming enables clownbatants, as they are known, to shut off their previous assumptions about hierarchical power structures and to step back and see the world with fresh eyes. From this new perspective the absurdity of a situation in which a line of protesters face-up against a line of police, becomes apparent. Beyond the signifiers of each others’ uniforms, Ranciere’s notion of the omnipresence of equality becomes evident (Ranciere 2007) and play and humour then perhaps do seem the natural human responses. Against the forward planning tactics of a traditional army (and indeed the career-minded artist) CIRCA’s emphasis is on spontaneity: “because the key to insurgency is brilliant improvisation, not perfect blueprints” (CIRCA 2003).
In a uniform which combines camo and greasepaint, clownbatants (as Point 5. suggests) ‘reject ego and embrace anonymity’ and so their inhibitions and embarrassment become irrelevant. So much more becomes possible without the worry of how they are perceived, of how others will judge them. Their individual subjectivities come together as a collective force of resistance. Their creativity exists in a space beyond the system of capital and they are utilising it to actively fight back.
The founders of the Rebel Clown Army were so aware of the importance of creativity in the process of resistance and of the potential for an evolution between art and activism, that they later set up the Laboratory of Insurrectionary Imagination (Lab of ii) as “a space to bring artists and activists together” (Harvie et al. 2005, p.249). The idea was to enable situations where they could work together and transfer skills – cultivating confidence in their “creative capacity as [a] fundamental tool for social change” (Lab of ii 2005). Functioning across the public realm, art world institutions and sites of traditional protest, the Lab of ii manages to successfully infiltrate and subvert different aspects of the hegemony. Most recently at Tate Modern in London, where under the banner of Disobedience Makes History – a two-day workshop on “art-activism” – they deliberately disobeyed the curator’s orders, encouraging participants to aim public attacks relating to the climate crises directly at the museum’s sponsors BP (Jordan 2010, p.35).
To read Part 4 of this article visit this link: http://www.furtherfield.org/articles/trajectories-how-reconcile-careerist-mentality-our-impending-doom-part-44
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