Allan Sekula and Noël Burch, still from The Forgotten Space (2010).
I woke up at the chime, looked at the mobile. New work available. I clocked in, made coffee, sat at the desk. Two hours of work right away, even before Twitter. Felt accomplished. I invoiced, and collected.
I met Sandra for breakfast. She's in Miami. She had the ceiling open to let in the sun. She got into a new task queue, editorial work. It's good work, she said, even though the pay isn't quite as good as advertising. What's the difference, I said, sipping my Bloody Mary. Different algorithmic authors, same algorithmic grammar problems.
Former Ministry of Highways Building, Tbilisi.
There is a sense in which all architecture is authoritarian, regardless of its ideals. No matter how many community meetings a planning process incorporates, in the end only one building may be built; one architecture, which by its very existence precludes another. The eventual users and non-users of the space may make minor modifications. They may open or close windows, but in the end they must deal with the consequences of the building, whether it is a postwar housing project or a San Jose strip mall. They must negotiate its little manipulations, and have little in the way of recourse if these should become oppressive.
Artists, at least of a particular bent, are not the sort to take authority at its word. Even under the most oppressive of conditions artists find ways to critique and to criticize, and to present alternate theories of the world. They respond to all forms of power, architecture included, through gestures that range from the most basic act of graffiti to Ai Weiwei's "studies of perspective."
Kari Altmann, image from Soft Mobility Abstracts (2014).
When I tell my close friends—who know of, and share, my anti-capitalist anarchist views—that I own some cryptocurrency (my current holdings equal something under 10 USD) I get the same sort of looks that I did when I told them in 2009 that I used Twitter. "How can you support that libertarian bullshit?"
Trevor Paglen, Chemical and Biological Weapons Proving Ground; Dugway, UT; Distance ~ 42 miles; 10:51 A.M. (2006). From the series Limit-Telephotography.
every room has an accessible history
every place has emotional attachments you can open and save
you can search for sadness in new york
paths compete to offer themselves to you
life flows into inanimate objects
the trees hum advertising jingles
everything in the world, animate and inanimate, abstract and concrete, has thoughts attached
— from Headmap Manifesto by Ben Russell
Headmap Manifesto was a groundbreaking exploration of the possibilities of location-aware technology when it was released in 1999. A decade and a half later, many people have a wireless network device with them at all times, and the author of the manifesto seems to have disappeared from the internet. The landscape of our cities is irrevocably changed, as the data accumulates, erupting from our pockets and pooling in the network.