This document discusses ways for citizens to participate meaningfully in public life and governance. It argues that current forms of participation and governance are obsolete, prioritizing consensus over dissent. It advocates for a "taskforce" with enough power to create an "agonistic public sphere" and regain the right to the city through a new social contract. The document also discusses how art has been co-opted and neutralized, turning protest into spectacle. It suggests citizens work to re-institute social institutions in a more democratic, transparent way. Tactical media artists are presented as models for learning new types of tactics, rather than strategies, to shape public discourse.
This document discusses ways for citizens to participate meaningfully in public life and governance. It argues that current forms of participation and governance are obsolete, prioritizing consensus over dissent. It advocates for a "taskforce" with enough power to create an "agonistic public sphere" and regain the right to the city through a new social contract. The document also discusses how art has been co-opted and neutralized, turning protest into spectacle. It suggests citizens work to re-institute social institutions in a more democratic, transparent way. Tactical media artists are presented as models for learning new types of tactics, rather than strategies, to shape public discourse.
This document discusses ways for citizens to participate meaningfully in public life and governance. It argues that current forms of participation and governance are obsolete, prioritizing consensus over dissent. It advocates for a "taskforce" with enough power to create an "agonistic public sphere" and regain the right to the city through a new social contract. The document also discusses how art has been co-opted and neutralized, turning protest into spectacle. It suggests citizens work to re-institute social institutions in a more democratic, transparent way. Tactical media artists are presented as models for learning new types of tactics, rather than strategies, to shape public discourse.
PARTICIPATING IN THE PUBLIC REALM Rui Matoso Lisboa - Portugal
First of all we need to undo the strategies and dominant
ideologies in contemporary society. Henri Lefebvre [The right to the city] We are all aware of whats happening currently in our global and local geography, and the news is not good. The dominant model of neoliberal society is in collapse, we are living in an autophagic moment, and that is the best part. What are we afraid of? I think we know what to do it in our cities. Firstly, we need a taskforce with sufficient relational power that could create an agonistic public sphere (Chantal Mouffe45) to regain the right to the city and to make a new social contract. Why? Because our local leaders (and others) do not really care about the common people. Why? Because they have a status quo to defend, and therefore they are stuck on the same reproductive style that allows them to earn votes. Of course I am talking mostly about Portugal, which is the country I live in. But yes, current forms of public governance are obsolete! New methods for governance are welcome! Currently participation has become a buzzword; it often does not imply any possibility of decision. Why? Because we put the emphasis on consensus (the societal equivalent to the governances status quo) and that has undermined the capacity of political actors to articulate dissent in ways that are necessary to democratic life. And I think we all have understood the Walter Benjamins aestheticization of politics. Did we? Boris Groys is able to provide an answer: this means that art cannot be used as a medium of a genuine political protestbecause the use of art for political action necessarily aestheticizes this action, turns this action
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Rui Matoso is a cultural manager, consultant, editor,
researcher and programmer. He teaches an MA course in Cultural Management and Programming at the Universidade Lusfona, Lisboa, and is currently pursuing a PhD in Political Art and Tactical Media.
into a spectacle and, thus, neutralizes
the practical effect of this action (...) In this sense, art sees contemporaneity not merely from the revolutionary, but rather, the post revolutionary perspective.46 We live inside a huge paradoxical situation, we are at the same time inside a militarized cyber-hybrid-public-space (remember Assange, Snowden and the NSA) and floating inside a creative ego-trip-bubble: in the pressure of our own gifts and talents, which enslaves and exhausts us by pushing us to move up the social mobility ladder in the most competitive and aggressive way. They tell us that we must be our own creativity entrepreneurs, a notion that is miles away from Joseph Beuys notion that we are all (social) artists. The difference is that a creative entrepreneur uses design to improve the aesthetic quality of status quo, and a social artist - or an art activist -, sees status quo as corpse that needs to be metamorphosed in a new kind of butterfly. Some people call this the butterfly effect: the flapping wing of a butterfly affects the climate across the world. In this sense, we are all butterflies now. Another useful metaphor is the one that compares urban cultured citizens to fish inside an aquarium, but the difference
the symbolic waters, for the better, in that they are immersed. An example of doing that is to work in the re-institution of our social institutions, to make them work better in a more democratic, transparent and transductive manner. Furthermore we need new types of tactics, not strategies, as Michel de Certeau argued when he
wrote about our practices of everyday
life. In this field of practices maybe we could learn more about the tactical media artists works. For instance, the way they are showing us how semiotic-cognitive capitalism is working in the design of biopolitics and the finantialization of our imagination. R.M