Hi Ricardo & all,
Thanks for sharing with us a history and social context of 'The Transborder
Immigrant Tool'. It was included in an article I wrote called 'Revisiting
the Curious World of Art & Hacktivism', in 2012 - http://bit.ly/1dENhhE on
The FBI Office of Cybercrimes investigation that followed must have been
extremely stressful for all involved. And as you say, you’ve been called a
traitor which also threatened your position at UCSD.
For me, TBT lived in the world and existed beyond the realms of a galleries
or institutional frameworks. Even though I'm a fan of much of the work that
comments or critiques issues in society, art that moves further than
'commentary' can introduce an extra level of intensity, such as risk.
It reminds me of a quote by Judith Butler in 'Giving an Account of
Oneself', published in 2003...
“Perhaps most importantly, we must recognise that ethics requires us to
risk ourselves precisely at moments of unknowingness, when what forms us
diverges from what lies before us, when our willingness to become undone in
relation to others constitutes our chance of becoming human.”
I really love that quote, and completely feel it as I breath -- every
Similarly, Arthur Kroker in his book 'Body Drift: Butler, Hayles, Haraway
in 2012', wrote...
“Could there be any text more appropriate to both understanding and
perhaps, if the winds of fate are favorable, transforming contemporary
politics than Judith Butler’s eloquent study of moral philosophy..?” (
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.
Co-Founder, Co-Director and main editor ofFurtherfield.
Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change since
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