Underground - Revision history

https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?action=history&feed=atom&title=Underground Underground - Revision history 2026-05-09T15:32:17Z Revision history for this page on the wiki MediaWiki 1.39.3 https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Underground&diff=1957&oldid=prev Juju at 16:24, 18 April 2022 2022-04-18T16:24:39Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 18:24, 18 April 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l20">Line 20:</td> <td colspan="2" class="diff-lineno">Line 20:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc.: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc.: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><blockquote>is not a retreat from actuality per se, but from certain of its aspects: from our present-day ‘always-on’ culture, from surveillance capitalism, from neo-liberal management, and so on. …The <mark class="c1"><del style="font-weight: bold; text-decoration: none;">gestures</del></mark> interrupts the forward motion of late-capitalism, as withdrawal is not oriented toward the future but rather invested in the possibilities of a different way of life …<ref>Ibid., p. 13.</ref></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><blockquote>is not a retreat from actuality per se, but from certain of its aspects: from our present-day ‘always-on’ culture, from surveillance capitalism, from neo-liberal management, and so on. …The <mark class="c1"><ins style="font-weight: bold; text-decoration: none;">gesture</ins></mark> interrupts the forward motion of late-capitalism, as withdrawal is not oriented toward the future but rather invested in the possibilities of a different way of life …<ref>Ibid., p. 13.</ref></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div></blockquote></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div></blockquote></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> </table>

Juju https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Underground&diff=1956&oldid=prev Juju: /* underground */ 2022-04-18T16:23:41Z

<p><span dir="auto"><span class="autocomment">underground</span></span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 18:23, 18 April 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l18">Line 18:</td> <td colspan="2" class="diff-lineno">Line 18:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Going underground might sound like a defeat to some readers, but in fact it means quite the opposite.<ref>At least, in the meaning intended here. Of course, some artists might go underground as an act of refusal and disappearance, as an act of quitting; think for example of the artist as mystic or shaman.</ref> Going underground is ''not'' an exodus from the art world and society, it is not a flight, a retreat, or a search for refuge. Going underground, in the sense it is used here, entails a refusal of solitary <mark class="c1">gestures</mark>, and it aims for a re-grouping, a re-assembling, a re-connecting of forces, a re-configuring of social bonds. It is about ''re''affirming relations, rather than about cutting ties. It is, therefore, a political act.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Going underground might sound like a defeat to some readers, but in fact it means quite the opposite.<ref>At least, in the meaning intended here. Of course, some artists might go underground as an act of refusal and disappearance, as an act of quitting; think for example of the artist as mystic or shaman.</ref> Going underground is ''not'' an exodus from the art world and society, it is not a flight, a retreat, or a search for refuge. Going underground, in the sense it is used here, entails a refusal of solitary <mark class="c1">gestures</mark>, and it aims for a re-grouping, a re-assembling, a re-connecting of forces, a re-configuring of social bonds. It is about ''re''affirming relations, rather than about cutting ties. It is, therefore, a political act.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc<ins style="font-weight: bold; text-decoration: none;">.</ins>: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><blockquote>is not a retreat from actuality per se, but from certain of its aspects: from our present-day ‘always-on’ culture, from surveillance capitalism, from neo-liberal management, and so on. …The <mark class="c1">gestures</mark> interrupts the forward motion of late-capitalism, as withdrawal is not oriented toward the future but rather invested in the possibilities of a different way of life …<ref>Ibid., p. 13.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><blockquote>is not a retreat from actuality per se, but from certain of its aspects: from our present-day ‘always-on’ culture, from surveillance capitalism, from neo-liberal management, and so on. …The <mark class="c1">gestures</mark> interrupts the forward motion of late-capitalism, as withdrawal is not oriented toward the future but rather invested in the possibilities of a different way of life …<ref>Ibid., p. 13.</ref></div></td></tr> </table>

Juju https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Underground&diff=1854&oldid=prev Hd-onions at 09:14, 12 April 2022 2022-04-12T09:14:33Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 11:14, 12 April 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l2">Line 2:</td> <td colspan="2" class="diff-lineno">Line 2:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><span class="author">Janneke Wesseling</span></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><span class="author">Janneke Wesseling</span></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In a lecture delivered on 20 March 1961, entitled <span "tighter2">‘Where do we go from here?’, Marcel Duchamp predicted that in the future artists ‘will go ''underground''</span>.<ref>invisiblecity.uarts.edu/where-do-we-go-from-here, accessed 3 May 2021.</ref> The reason for this, Duchamp claimed, was that art had ‘degenerated’, as he called it, into a gigantic artistic production that was determined by supply and demand, rendering the art object into a commodity. This in turn had led to a dilution of artistic values and to the dominance of mediocre art. The response of serious artists to this deterioration of art would be, according to Duchamp, ‘an ascetic revolution’.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"><div class="no-indent"></ins>In a lecture delivered on 20 March 1961, entitled <span "tighter2">‘Where do we go from here?’, Marcel Duchamp predicted that in the future artists ‘will go ''underground''</span>.<ref>invisiblecity.uarts.edu/where-do-we-go-from-here, accessed 3 May 2021.</ref> The reason for this, Duchamp claimed, was that art had ‘degenerated’, as he called it, into a gigantic artistic production that was determined by supply and demand, rendering the art object into a commodity. This in turn had led to a dilution of artistic values and to the dominance of mediocre art. The response of serious artists to this deterioration of art would be, according to Duchamp, ‘an ascetic revolution’.<ins style="font-weight: bold; text-decoration: none;"></div></ins></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>A short elaboration on the notion of underground, as used by Duchamp, is needed here. Two years after Duchamp’s lecture, the experimental film ''Flaming Creatures'' by American film director Jack Smith was first shown (at the Bleecker Street Cinema, on 29 April 1963). This film, which celebrates free and queer sex, marks the beginnings of the Underground Film Movement in New York, which would include artists and filmmakers such as Andy Warhol and the Kuchar brothers. The Underground Film Movement also developed ties with hippie subculture and is associated with the writers of the Beat Generation.<ref>Such as Jack Kerouac, Allen Ginsberg and William S. Burroughs. Another example of underground culture is punk culture in the 1980s.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>A short elaboration on the notion of underground, as used by Duchamp, is needed here. Two years after Duchamp’s lecture, the experimental film ''Flaming Creatures'' by American film director Jack Smith was first shown (at the Bleecker Street Cinema, on 29 April 1963). This film, which celebrates free and queer sex, marks the beginnings of the Underground Film Movement in New York, which would include artists and filmmakers such as Andy Warhol and the Kuchar brothers. The Underground Film Movement also developed ties with hippie subculture and is associated with the writers of the Beat Generation.<ref>Such as Jack Kerouac, Allen Ginsberg and William S. Burroughs. Another example of underground culture is punk culture in the 1980s.</ref></div></td></tr> </table>

Hd-onions https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Underground&diff=1766&oldid=prev Hd-onions at 17:41, 10 April 2022 2022-04-10T17:41:29Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:41, 10 April 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l25">Line 25:</td> <td colspan="2" class="diff-lineno">Line 25:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Indeed, underground artists resist the idea of art practice as a form of commercial entrepreneurship aimed at maximum financial profit for the individual entrepreneur, and they refuse to define the value of art as economic value. They distance themselves from neoliberalist policies, and from Western post-colonial dominance in the fields of art and culture. The ways in which this happens are manifold and may include practices that adapt late-capitalist technologies and systems (such as <mark class="c4">business</mark> models, the logistic↵ of the warehouse and of digital <mark class="c6">distribution</mark> systems) to critically reflect on and inverse capitalist value systems. The distancing can equally happen as overt political activism or as a silent, un-outspoken way of operating that may lead to a certain degree of invisibility. Taking a distance therefore does not involve a negative act of withdrawal in the sense of refusal or seclusion (cf. Henry David Thoreau in ''Walden''). Instead, it is a <span "tighter2"> reconnecting that may take the shape of <mark class="c1">embeddedness</mark>, of communality or radical inclusivity.</span></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Indeed, underground artists resist the idea of art practice as a form of commercial entrepreneurship aimed at maximum financial profit for the individual entrepreneur, and they refuse to define the value of art as economic value. They distance themselves from neoliberalist policies, and from Western post-colonial dominance in the fields of art and culture. The ways in which this happens are manifold and may include practices that adapt late-capitalist technologies and systems (such as <mark class="c4">business</mark> models, the logistic↵ of the warehouse and of digital <mark class="c6">distribution</mark> systems) to critically reflect on and inverse capitalist value systems. The distancing can equally happen as overt political activism or as a silent, un-outspoken way of operating that may lead to a certain degree of invisibility. Taking a distance therefore does not involve a negative act of withdrawal in the sense of refusal or seclusion (cf. Henry David Thoreau in ''Walden''). Instead, it is a <span "tighter2"> reconnecting that may take the shape of <mark class="c1">embeddedness</mark>, of communality or radical inclusivity.</span></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><br></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><br>The critique of global capitalist logistic↵ structures and the questioning of the place of technology in culture does not necessarily prevent a positive embracing of new technologies. In fact, a precondition for going underground seems to be an active engagement with the Internet and with technical infrastructures, enabling an opening up of new zones of global collaboration and political action. Thinking with, and through, digital technology and its role in the co-existence of humans and other-than-humans is precisely one of the focal points of the new underground art.</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The critique of global capitalist logistic↵ structures and the questioning of the place of technology in culture does not necessarily prevent a positive embracing of new technologies. In fact, a precondition for going underground seems to be an active engagement with the Internet and with technical infrastructures, enabling an opening up of new zones of global collaboration and political action. Thinking with, and through, digital technology and its role in the co-existence of humans and other-than-humans is precisely one of the focal points of the new underground art.</div></td><td colspan="2" class="diff-side-added"></td></tr> </table>

Hd-onions https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Underground&diff=1765&oldid=prev Hd-onions at 17:40, 10 April 2022 2022-04-10T17:40:31Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:40, 10 April 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l25">Line 25:</td> <td colspan="2" class="diff-lineno">Line 25:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Indeed, underground artists resist the idea of art practice as a form of commercial entrepreneurship aimed at maximum financial profit for the individual entrepreneur, and they refuse to define the value of art as economic value. They distance themselves from neoliberalist policies, and from Western post-colonial dominance in the fields of art and culture. The ways in which this happens are manifold and may include practices that adapt late-capitalist technologies and systems (such as <mark class="c4">business</mark> models, the logistic↵ of the warehouse and of digital <mark class="c6">distribution</mark> systems) to critically reflect on and inverse capitalist value systems. The distancing can equally happen as overt political activism or as a silent, un-outspoken way of operating that may lead to a certain degree of invisibility. Taking a distance therefore does not involve a negative act of withdrawal in the sense of refusal or seclusion (cf. Henry David Thoreau in ''Walden''). Instead, it is a <span "tighter2"> reconnecting that may take the shape of <mark class="c1">embeddedness</mark>, of communality or radical inclusivity.</span></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Indeed, underground artists resist the idea of art practice as a form of commercial entrepreneurship aimed at maximum financial profit for the individual entrepreneur, and they refuse to define the value of art as economic value. They distance themselves from neoliberalist policies, and from Western post-colonial dominance in the fields of art and culture. The ways in which this happens are manifold and may include practices that adapt late-capitalist technologies and systems (such as <mark class="c4">business</mark> models, the logistic↵ of the warehouse and of digital <mark class="c6">distribution</mark> systems) to critically reflect on and inverse capitalist value systems. The distancing can equally happen as overt political activism or as a silent, un-outspoken way of operating that may lead to a certain degree of invisibility. Taking a distance therefore does not involve a negative act of withdrawal in the sense of refusal or seclusion (cf. Henry David Thoreau in ''Walden''). Instead, it is a <span "tighter2"> reconnecting that may take the shape of <mark class="c1">embeddedness</mark>, of communality or radical inclusivity.</span></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><<del style="font-weight: bold; text-decoration: none;">span class="page-break">&nbsp;</span</del>></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><<ins style="font-weight: bold; text-decoration: none;">br</ins>></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The critique of global capitalist logistic↵ structures and the questioning of the place of technology in culture does not necessarily prevent a positive embracing of new technologies. In fact, a precondition for going underground seems to be an active engagement with the Internet and with technical infrastructures, enabling an opening up of new zones of global collaboration and political action. Thinking with, and through, digital technology and its role in the co-existence of humans and other-than-humans is precisely one of the focal points of the new underground art.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The critique of global capitalist logistic↵ structures and the questioning of the place of technology in culture does not necessarily prevent a positive embracing of new technologies. In fact, a precondition for going underground seems to be an active engagement with the Internet and with technical infrastructures, enabling an opening up of new zones of global collaboration and political action. Thinking with, and through, digital technology and its role in the co-existence of humans and other-than-humans is precisely one of the focal points of the new underground art.</div></td></tr> </table>

Hd-onions https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Underground&diff=1764&oldid=prev Hd-onions at 17:39, 10 April 2022 2022-04-10T17:39:25Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:39, 10 April 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l24">Line 24:</td> <td colspan="2" class="diff-lineno">Line 24:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Indeed, underground artists resist the idea of art practice as a form of commercial entrepreneurship aimed at maximum financial profit for the individual entrepreneur, and they refuse to define the value of art as economic value. They distance themselves from neoliberalist policies, and from Western post-colonial dominance in the fields of art and culture. The ways in which this happens are manifold and may include practices that adapt late-capitalist technologies and systems (such as <mark class="c4">business</mark> models, the logistic↵ of the warehouse and of digital <mark class="c6">distribution</mark> systems) to critically reflect on and inverse capitalist value systems. The distancing can equally happen as overt political activism or as a silent, un-outspoken way of operating that may lead to a certain degree of invisibility. Taking a distance therefore does not involve a negative act of withdrawal in the sense of refusal or seclusion (cf. Henry David Thoreau in ''Walden''). Instead, it is a <span "tighter2"> reconnecting that may take the shape of <mark class="c1">embeddedness</mark>, of communality or radical inclusivity.</span></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Indeed, underground artists resist the idea of art practice as a form of commercial entrepreneurship aimed at maximum financial profit for the individual entrepreneur, and they refuse to define the value of art as economic value. They distance themselves from neoliberalist policies, and from Western post-colonial dominance in the fields of art and culture. The ways in which this happens are manifold and may include practices that adapt late-capitalist technologies and systems (such as <mark class="c4">business</mark> models, the logistic↵ of the warehouse and of digital <mark class="c6">distribution</mark> systems) to critically reflect on and inverse capitalist value systems. The distancing can equally happen as overt political activism or as a silent, un-outspoken way of operating that may lead to a certain degree of invisibility. Taking a distance therefore does not involve a negative act of withdrawal in the sense of refusal or seclusion (cf. Henry David Thoreau in ''Walden''). Instead, it is a <span "tighter2"> reconnecting that may take the shape of <mark class="c1">embeddedness</mark>, of communality or radical inclusivity.</span></div></td></tr> <tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr> <tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"><span class="page-break">&nbsp;</span></ins></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The critique of global capitalist logistic↵ structures and the questioning of the place of technology in culture does not necessarily prevent a positive embracing of new technologies. In fact, a precondition for going underground seems to be an active engagement with the Internet and with technical infrastructures, enabling an opening up of new zones of global collaboration and political action. Thinking with, and through, digital technology and its role in the co-existence of humans and other-than-humans is precisely one of the focal points of the new underground art.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The critique of global capitalist logistic↵ structures and the questioning of the place of technology in culture does not necessarily prevent a positive embracing of new technologies. In fact, a precondition for going underground seems to be an active engagement with the Internet and with technical infrastructures, enabling an opening up of new zones of global collaboration and political action. Thinking with, and through, digital technology and its role in the co-existence of humans and other-than-humans is precisely one of the focal points of the new underground art.</div></td></tr> </table>

Hd-onions https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Underground&diff=1763&oldid=prev Hd-onions at 17:38, 10 April 2022 2022-04-10T17:38:34Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:38, 10 April 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l18">Line 18:</td> <td colspan="2" class="diff-lineno">Line 18:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Going underground might sound like a defeat to some readers, but in fact it means quite the opposite.<ref>At least, in the meaning intended here. Of course, some artists might go underground as an act of refusal and disappearance, as an act of quitting; think for example of the artist as mystic or shaman.</ref> Going underground is ''not'' an exodus from the art world and society, it is not a flight, a retreat, or a search for refuge. Going underground, in the sense it is used here, entails a refusal of solitary <mark class="c1">gestures</mark>, and it aims for a re-grouping, a re-assembling, a re-connecting of forces, a re-configuring of social bonds. It is about ''re''affirming relations, rather than about cutting ties. It is, therefore, a political act.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Going underground might sound like a defeat to some readers, but in fact it means quite the opposite.<ref>At least, in the meaning intended here. Of course, some artists might go underground as an act of refusal and disappearance, as an act of quitting; think for example of the artist as mystic or shaman.</ref> Going underground is ''not'' an exodus from the art world and society, it is not a flight, a retreat, or a search for refuge. Going underground, in the sense it is used here, entails a refusal of solitary <mark class="c1">gestures</mark>, and it aims for a re-grouping, a re-assembling, a re-connecting of forces, a re-configuring of social bonds. It is about ''re''affirming relations, rather than about cutting ties. It is, therefore, a political act.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"><span class="page-break">&nbsp;</span></del></div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><blockquote>is not a retreat from actuality per se, but from certain of its aspects: from our present-day ‘always-on’ culture, from surveillance capitalism, from neo-liberal management, and so on. …The <mark class="c1">gestures</mark> interrupts the forward motion of late-capitalism, as withdrawal is not oriented toward the future but rather invested in the possibilities of a different way of life …<ref>Ibid., p. 13.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><blockquote>is not a retreat from actuality per se, but from certain of its aspects: from our present-day ‘always-on’ culture, from surveillance capitalism, from neo-liberal management, and so on. …The <mark class="c1">gestures</mark> interrupts the forward motion of late-capitalism, as withdrawal is not oriented toward the future but rather invested in the possibilities of a different way of life …<ref>Ibid., p. 13.</ref></div></td></tr> </table>

Hd-onions https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Underground&diff=1762&oldid=prev Hd-onions at 17:36, 10 April 2022 2022-04-10T17:36:48Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:36, 10 April 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l18">Line 18:</td> <td colspan="2" class="diff-lineno">Line 18:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Going underground might sound like a defeat to some readers, but in fact it means quite the opposite.<ref>At least, in the meaning intended here. Of course, some artists might go underground as an act of refusal and disappearance, as an act of quitting; think for example of the artist as mystic or shaman.</ref> Going underground is ''not'' an exodus from the art world and society, it is not a flight, a retreat, or a search for refuge. Going underground, in the sense it is used here, entails a refusal of solitary <mark class="c1">gestures</mark>, and it aims for a re-grouping, a re-assembling, a re-connecting of forces, a re-configuring of social bonds. It is about ''re''affirming relations, rather than about cutting ties. It is, therefore, a political act.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Going underground might sound like a defeat to some readers, but in fact it means quite the opposite.<ref>At least, in the meaning intended here. Of course, some artists might go underground as an act of refusal and disappearance, as an act of quitting; think for example of the artist as mystic or shaman.</ref> Going underground is ''not'' an exodus from the art world and society, it is not a flight, a retreat, or a search for refuge. Going underground, in the sense it is used here, entails a refusal of solitary <mark class="c1">gestures</mark>, and it aims for a re-grouping, a re-assembling, a re-connecting of forces, a re-configuring of social bonds. It is about ''re''affirming relations, rather than about cutting ties. It is, therefore, a political act.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of<<del style="font-weight: bold; text-decoration: none;">br</del>></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of</div></td></tr> <tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr> <tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><<ins style="font-weight: bold; text-decoration: none;">span class="page-break"</ins>><ins style="font-weight: bold; text-decoration: none;">&nbsp;</span></ins></div></td></tr> <tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> </table>

Hd-onions https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Underground&diff=1761&oldid=prev Hd-onions at 17:35, 10 April 2022 2022-04-10T17:35:27Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:35, 10 April 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l18">Line 18:</td> <td colspan="2" class="diff-lineno">Line 18:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Going underground might sound like a defeat to some readers, but in fact it means quite the opposite.<ref>At least, in the meaning intended here. Of course, some artists might go underground as an act of refusal and disappearance, as an act of quitting; think for example of the artist as mystic or shaman.</ref> Going underground is ''not'' an exodus from the art world and society, it is not a flight, a retreat, or a search for refuge. Going underground, in the sense it is used here, entails a refusal of solitary <mark class="c1">gestures</mark>, and it aims for a re-grouping, a re-assembling, a re-connecting of forces, a re-configuring of social bonds. It is about ''re''affirming relations, rather than about cutting ties. It is, therefore, a political act.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Going underground might sound like a defeat to some readers, but in fact it means quite the opposite.<ref>At least, in the meaning intended here. Of course, some artists might go underground as an act of refusal and disappearance, as an act of quitting; think for example of the artist as mystic or shaman.</ref> Going underground is ''not'' an exodus from the art world and society, it is not a flight, a retreat, or a search for refuge. Going underground, in the sense it is used here, entails a refusal of solitary <mark class="c1">gestures</mark>, and it aims for a re-grouping, a re-assembling, a re-connecting of forces, a re-configuring of social bonds. It is about ''re''affirming relations, rather than about cutting ties. It is, therefore, a political act.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of<del style="font-weight: bold; text-decoration: none;"><br></del><br></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of<br></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> </table>

Hd-onions https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Underground&diff=1760&oldid=prev Hd-onions: /* underground */ 2022-04-10T17:34:34Z

<p><span dir="auto"><span class="autocomment">underground</span></span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:34, 10 April 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l18">Line 18:</td> <td colspan="2" class="diff-lineno">Line 18:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Going underground might sound like a defeat to some readers, but in fact it means quite the opposite.<ref>At least, in the meaning intended here. Of course, some artists might go underground as an act of refusal and disappearance, as an act of quitting; think for example of the artist as mystic or shaman.</ref> Going underground is ''not'' an exodus from the art world and society, it is not a flight, a retreat, or a search for refuge. Going underground, in the sense it is used here, entails a refusal of solitary <mark class="c1">gestures</mark>, and it aims for a re-grouping, a re-assembling, a re-connecting of forces, a re-configuring of social bonds. It is about ''re''affirming relations, rather than about cutting ties. It is, therefore, a political act.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Going underground might sound like a defeat to some readers, but in fact it means quite the opposite.<ref>At least, in the meaning intended here. Of course, some artists might go underground as an act of refusal and disappearance, as an act of quitting; think for example of the artist as mystic or shaman.</ref> Going underground is ''not'' an exodus from the art world and society, it is not a flight, a retreat, or a search for refuge. Going underground, in the sense it is used here, entails a refusal of solitary <mark class="c1">gestures</mark>, and it aims for a re-grouping, a re-assembling, a re-connecting of forces, a re-configuring of social bonds. It is about ''re''affirming relations, rather than about cutting ties. It is, therefore, a political act.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>''Politics of Withdrawal'' (2020), a volume edited by the Dutch cultural theorists Joost de Blooijs and Pepita Hesselberth, addresses the meaning of withdrawal as a political act.<ref>Pepita Hesselberth and Joost de Bloois, ed., ''Politics of Withdrawal: Media, Arts, Theory'' (Lanham, MD etc: Rowman &amp; Littlefield, 2020).</ref> In their introduction, ‘Toward a Politics of<<ins style="font-weight: bold; text-decoration: none;">br</ins>><<ins style="font-weight: bold; text-decoration: none;">br</ins>></div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><<del style="font-weight: bold; text-decoration: none;">span class="page-break"</del>><del style="font-weight: bold; text-decoration: none;">&nbsp;</del><<del style="font-weight: bold; text-decoration: none;">/span</del>></div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"><div class="no-indent"></del>Withdrawal?’, De Blooijs and Hesselberth suggest that withdrawal <del style="font-weight: bold; text-decoration: none;"></div></del></div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><blockquote>is not a retreat from actuality per se, but from certain of its aspects: from our present-day ‘always-on’ culture, from surveillance capitalism, from neo-liberal management, and so on. …The <mark class="c1">gestures</mark> interrupts the forward motion of late-capitalism, as withdrawal is not oriented toward the future but rather invested in the possibilities of a different way of life …<ref>Ibid., p. 13.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><blockquote>is not a retreat from actuality per se, but from certain of its aspects: from our present-day ‘always-on’ culture, from surveillance capitalism, from neo-liberal management, and so on. …The <mark class="c1">gestures</mark> interrupts the forward motion of late-capitalism, as withdrawal is not oriented toward the future but rather invested in the possibilities of a different way of life …<ref>Ibid., p. 13.</ref></div></td></tr> </table>

Hd-onions