Hola Tod@s and Randall,
“A specter haunts the world and it is the specter of migration.”
-A Nomad some 10,000 plus years ago
"We fear the walking the dead not because they are dead-but because the
"We didn't cross the border! The border crossed us!"
-Machete (Film, 2010)
Glad to hear you enjoy our poetics :-) So do we.
We have always/already been migrating, we have always/already been
refugees, and the current politics of fear have been at play almost
forever. Is the current moment significantly different in its
kinopolitics and its fear of those who move other wise for dromologist?
Is the "general increase" in human mobility and expulsions a defining
feature of the twenty-first century? Perhaps the defining aspect now is
the imperceptible politics and global-agency of trans_border bodies
continuing the longue durée
of changing the aesthetics of movement.
Society has always been in motion and continues to be in motion-from
border security and city traffic controls to personal technologies and
work schedules, human movement is socially directed. Societies are not
static places with fixed characteristics and persons.Societies are
dynamic processes engaged in continuously directing and circulating
social life. In a movement-oriented philosophy there is no social
stasis, only regimes of social circulation. If we want to understand the
flow and agency of the migrant, of the refugee, whose defining social
feature is its movement, we must also understand society itself
according to movement. The Transborder Immigrant Tool is an aesthetic
gesture disturbing the aesthetics of dromology-a translucent gesture
that is not bound to the transparent aesthetics of hyperventilating morass.
Trans_bodies are establishing the global right of movement, of flowing,
and of circulation without constraints and creating a global right to
health care, eduction, and equality co-equal and beyond the utopian free
We have all seeing this show a number of times already and in the end
trans_border bodies always/already will flow, reconfigure, and create
new realities no matter what hyperwalls are built.
The Transborder Immigrant Tool did move beyond art circles in creating a
disturbance and took a measure of the politics fear along the equator of
violence and did
what art can do-disturb, measure, shift, dislocate, and re-locate the
current aesthetics of global-borders and its dangerous dynamics.
On 11/30/15 11:08 AM, Randall Packer wrote:
> Hi Ricardo, I always enjoy your poetics and approach to addressing the problematic social and political issues of borders. Given the heated political climate today surrounding borders, particularly the Trump Wall and related hyperventilating regarding immigration post Paris, I wonder how border disturbance art pushes up against these dangerous dynamics. Immigration has become the emotional center stage of our political season in the US, as well as in Europe with the mass Syrian migration, and will probably gain steam heading into next year. Where do you stand on all this? What can the artist do to raise awareness, not just within our own art circles, but in the morass of anger and hatred that lies beyond.
> On 11/30/15, 11:18 AM, "Curating digital art - www.crumbweb.org on behalf of Ricardo Dominguez" <[log in to unmask] on behalf of [log in to unmask]> wrote:
>> Microsoft Word - Dominguez Microsoft Word - Dominguez
>> *Hola Tod@s and Marc,
>> Sorry to be late in responding-but the holiDAZE here in this part the
>> world and travel kept me from responding to your
>> question Marc:
>> "So, this brings me to my question, do you see that our established
>> concept for borders are more than just regions and place, and if so -
>> how can we transcend them and what do these look like? Wishing you well.
>> *TBT is still a gesture in the process of becoming and unbecoming – it
>> is still shape shifting and performing itself into potential spaces of
>> use and poetics. TBT is border disturbance art that constitutes a
>> visible geo-aesthetic/geo-ethics gesture against the boundaries and
>> borderless borders that are crisscrossing every single body on the
>> planet. We call for a geo-aesthetics that starts at the nanoscale and
>> reaches up to dislocate the GPS (Global Position System) grid system
>> that floats around the planet. We call for a geo- aesthetics that
>> connects both the human and the inhuman, geography and ethics; which is
>> to say, we call for a geo-aesthetics that crosses into and dislocates
>> the smooth space of geo-spatial mobility with ethical objects that can
>> be used for multiple forms of sustenance and desires. We live in a world
>> where only goods and services have rights to cross borders, of things
>> and proto-things that create wireless clouds of data that facilitate
>> access and containment, of tran_border bodies, market bodies, and state
>> bodies – a world that is a chaosmosis of markets that demand global
>> exchange and aggressive state and social filters. We need a
>> geo-aesthetics that can construct ethical and performative complexities
>> for the /new earths /to come, or better said the /new//earths/ already
>> here between us, among us, and made by us, that will allow us to imagine
>> new geographies for new bodies – trans_bodies with transborder rights –
>> and artwork that can function as a geo-philosophy for bodies that are
>> flowing as transborder bodies across the arcs of the world.
>> *The key practices that fractalize this geo-aesthetic are: artivism,
>> tactical poetries, hacktivism(s), new media theater, border disturbance
>> art/technologies, augmented realities, speculative cartographies, queer
>> technologies, transnational feminisms and code, digital Zapatistismo,
>> dislocative gps, and intergalactic performances.
>> *Abrazos grandes,