hybridity
w. sam howard-spink hybridity
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Crossing the Border?
Hybridity as Late-Capitalistic Logic Of Cultural Translation and National Modernisation
Kien Nghi Ha
While the borders of prosperity and the so-called homeland security for Western societies are increasingly policed, we are not surprisingly facing the undeniable effects of globalisation and migration. These forces have shaped a traveling economy of bodies, signs and idioms that operates through combination and recombination of diverse cultural elements. Instead of celebrating the space won for cultural freedom and permeability, one should be cautious when thinking about the political potentials of cultural transgressions.(…) To perceive immigrant communities as a useful economic tool to increase national competitiveness or to utilize them as a now needed transnational ethnic network of human and cultural capital to satisfy a desired cultural consumption, is a form of objectification. These practices tend to exhibit Otherness as a way to serve the taste and the interests of the mainstream society framed by the dominant nation state. Such a process creates new hierarchies and borderlines of visibility and invisibility, but also new forms of recognition and exclusion among marginalized people. It is obvious that immigrants, who are perceived as “traditional” in the White gaze, are under pressure to conform as good, integrated, but still exhilarating Other. Those immigrants who fit in the requested definition of the integrated Other will be celebrated, while those who fail to do so will be punished in one way or another. In the end, the established positions in the ongoing contestation of the object-subject-relationship are not questioned, but reinforced.
The map of the world
as imagined by Ibn-al-Wardi
“a meditation on the “progress” of sound-and-noise, film, film history, history generally – and how the “frequency hoping” of technology, representation, systems of constraint, and sources of power go into the composition of what we call culture.”
The Grand Illusion of Corporate Social Responsibility
Tim Wright
Guardian
Taking a look at corporate mentors and the trainee priests in the new religion of business offers little comfort for those hoping for some future evolution of a more responsible business world.(…) I do not believe that business has changed and I am not convinced that it will change. There is of course much debate and chatter, and superficially we are conned that the corporate world is being re-born as a responsible citizen. Now that the bogeyman of communism has been slain and excuses for sustained inequality become thin on the ground, it must be seen to be trying. But beneath it all, the parting on the left has simply become a parting on the right..
from
Working Progress, Working Title
[Automystifstical Plaice]
John Matthias
The silent Diva and the Model-T get scrapped when even Dali
comes to town proclaiming Cecil B a great Surrealist.
The times are strange. Air waves all awash with bands that swing
or Autrey singing down home out of range.
Ecstasy had made a star Miss Lamarr although nobody
in the USA had seen it. [Girl seventeen & born
of mother no machine. Alas, an unfucked bride: Swimming naked
and observed by handsome virile male actor name of Mog,
her simulated sex on sofa later advertised to be
the real ride. Movements to be reproduced by analog
or digitize? First prize. Alu will occur
three hundred thousand times in human genome
to be known and coded soon enough.
That's why A and Dali loose their dog the Andalou
on B and you]Coeval, then, & coefficient in the codices
of coinage, they sit together
in the private screening room: the mogul
and the moilers make a single molecule for a moment
as modalities come into play: The way
the young man strops his razor by a balcony, then deliberately
draws the blade across the woman’s open eye that bleeds
on down the screen where just before they’d lit up
the Dakotas with some rushes of Calamity
and Wild Bill to test the sound. No sound now but
Dali’s voice, whispering to George and Miss Lamarr,
De Mille beginning to be ill:
(more)
CoBrA: trangression and voracity
CoBrA is probably the last group of its kind in the tradition of the dadaists, futurists, constructivists and surrealists to rely on cooperation between artists. Asger Jorn started his collaborative work with Pierre Wemaère in 1940 which lasted until the 1980s. Cooperation among CoBrA artists is a condition of their work, relying on the unlimited respect for the individual and an “épainouissement tout aussi illimité dans la communauté.” CoBrA also cultivated cooperation with scientists, musicians, and film directors.(…) As early as 1935, Egill Jacobsen developed a typical CoBrA cross-cultural language, the “mask painting.” This pictorial language of the mask, which relied on Picasso’s use of African references and surrealist “automatic drawing,” conveys different experiences and states of mind. During wartime, the paintings by Jacobsen and Pedersen reflect their fear and depression, but also home, exalted optimism, lust, joy of life and erotic encounters. The Danish artists looked at “primitive” art, African and Oceanic, as a means to communicate geographic and cultural boundaries. They did not take much interest in its religious or ritual meaning. Instead they looked to artists like Picasso, Miró and Klee—how they appropriated the visual idioms of African and Oceanic traditional art.
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