Yes, thanks Ricardo, for your illumination on this complex issue.
10 years ago I visited the Shatila Palestinian Camp in Beirut, the site of a terrible massacre in the 1980s, and one of the longest running camps for Palestinians. Although it was 2005, I was struck by the fact that they had a cybercafé in the camp. Mostly used by the younger, digitally literate residents, this was the only source of information from the outside world, in fact the only way that any of the residents could even explore opportunities outside the camps. Although I tried to setup an Internet exchange between my art students at American University in DC, and two Palestinian artists, the project never received any funding and fell through the cracks. However, I have always felt that that the Net is an underutilized tool for providing refugees access, for organizing exchange, and with today’s cell phone technology, the potential is even greater. I would be interested in hearing about any efforts to network refugees for ongoing educational and artistic projects.
On 12/2/15, 5:21 AM, "Curating digital art - www.crumbweb.org on behalf of Beryl Graham" <[log in to unmask] on behalf of [log in to unmask]> wrote:
>Thanks Domingo for these great links, what fantastic tactics and strategies, and the radio project in particular seems to be really linking people together across distances. It’s an interesting context in the North East of England, because as well as well as having one of the oldest migrant communities in the UK (as Dawn Bothwell mentioned in South Shields), we have new migrant communities, due to having some cheap and available housing (in turn due to to INTERNAL UK economic migration - people move from post-industrial NE to where there are more jobs).
>So, it’s interesting to see how radio can link people up not only across countries, but within countries to combat economic isolation, as people can't always choose where they live …
>On 1 Dec 2015, at 16:17, Ricardo Dominguez <[log in to unmask]<mailto:[log in to unmask]>> wrote:
>Hola Tod@s and Armin,
>We always imagined and see immigrants and refugees as having not just agency but
>being the prime movers. Movement always comes first.
>Often people were offended that TBT has experimental poetry and survival poetry in
>multiple languages. Why? Because immigrants and refugees are trans_conceptualist
>and not empty husks or bare life.
>As we say on the border here-We Are Not Wet Back! We Are Wet Minds!
>At a gathering I attending in Munich last month I saw a number of refugee and immigrant
>organized gestures. Such as: Refugee Radio Network
>That was started by a small group of refugees trying to making contact with
>communities that were in the in E.U. and those planning to come.
>We also saw the way the immigrants and refugees are using a wide variety of
>Web 2.0 platforms to seeking out flight facilitators and sharing information about
>the best ones in terms of safety and cost.
>Also gestures like the Refugee Caravans:
>And art projects like: http://sea-watch.org/en/
>(They trying to buy another art-boat now).
>These imperceptible moments trigger social transformation, trigger shifts which would have appeared impossible if described from the perspective of the existing situation. You can never really know exactly when people will engage in acts of escape. The art of escape appears magical, but it is the mundane, hard and sometimes painful everyday practices that enable people to craft situations that seem unimaginable when viewed through the lens of the constraints of the present. The account we give of social trans- formation does not entail cultivating faith in the event to come, rather it involves cultivating faith in the elasticity and magic of the present. Another world is here.
>Escape Routes : Control and Subversion in the Twenty-first Century Abrazos,
>Also, the project by artist from Hamburg:
>On 12/1/15 12:14 AM, Armin Medosch wrote:
>dear Cecilia, dear Crumb,
>Cecilia, thanks for your inspired posting which gives me the opportunity to
>briefly also contribute. I have currently a very tight schedule and even
>just following the discussion is difficult for me. But following on to what
>Cecilia said, I would like to add a few thoughts.
>In my view, there is often a pattern in discussions about migrations and
>digital art that the focus is on tools that can help migrants. Please don't
>misunderstand me, I am a fan of Transborder Immigrant Tool, for instance,
>and have written about it, in an article that will form part of Companion
>to Digital Art edited by Christiane Paul which will come out in 2016.
>Yet what I suggest is maybe just a focus. In a book a few years ago, Saskia
>Sassen somehow framed the question like this. Usually, migrants / refugees
>are presented as victims, as people in a very precarious situation, which
>is all quite true, But despite such obvious powerlessness, Sassen pointed
>out that migrants have agency too. For instance, through their activity
>they pose important questions about citizenship, and manage to clinge
>rights, civil rights, personal rights for themselves, thereby having a
>lasting impact on the legal landscape.
>Following this lead we could maybe ask, what s the agency of refugees
>beyond the legal aspects Sassen talks about? Where and how do refugees
>become active subjects of their own history and not just unwelcome objects
>to be dealt with, by increasingly petulant administrations. And in which
>ways can artists support that protest, rather than starting from the
>assumption that another technological tool would be the best way to go
>My second point could easily amount to a long long essay but unfortunately
>I don't have time. Since a number of years, I live in Vienna, Austria.
>Unlike the UK, Austria did not have large waves of immigration in the 1950s
>and 1960s from people from outside Europe. Until recently, most migrants
>tended to be from former Yugoslavia and Turkey.
>However, as you are all well aware, this summer this dramatically changed.
>Suddenly Austria became a frontline state. Austrian prime minister Faymann
>and Angela Merkel decided to suspend the stupid Dublin agreement and allow
>refugees to come to Austria and Germany. Of the more than one Million
>people who passed through Austria since end of August, about 80 - 100.000
>applied for asylum here, that is, in a nation of 8 million.
>What happened and still happens since is one of the most amazing things I
>have experienced in my life. Despite xenophobic hate campaigns by certain
>media (local version of the Daily Hate) and rightwing populists it turned
>out that tens of thousands of people are ready to help and spend large
>portions of their leisure time distributing water, helping with
>translations, setting up care homes for unaccompanied youths, organise soup
>kitchens and so on and so forth.
>Up until July 2015, supporting refugees was only done by small groups,
>usually with a leftwing background (that discounting for church base
>organisations). Suddenly it has become like a movement sweeping through all
>layers of society.
>But the other side is also active, rightwing populists are foaming at their
>mouth and have been able to gain seats in local elections. But the picture
>is not as clearcut as it seems. In VIenna at least the rise of the right
>was stopped by a social democrat mayor who won the vote on a clear
>pro-refugee mandate. The situation is polarizing and it could become like
>in the 1930s, when Red Vienna was surrounded by catholics and
>Austro-fascists (well, lets hope not).
>What I wanted to say, besides those observations, is that this latest
>stream of migrants has already changed a lot. The app 100.000 people mainly
>from Afghanistan, Syria, Iraq who came to stay only this year - next year a
>similar number can be expected - will change Austria forever.
>The sheer numbers of those arriving have already demonstrated that both
>"Schengen" and "Dublin" were ill-conceived systems, bad legislation.
>Currently, conservative politicians try to patch up "Dublin" again by
>"securing external borders" and making dodgy deals with wannabe-dictators
>such as Erdogan. But it wont hold. Europe has to learn that it cant be a
>happy island in an ocean of poverty, violence and misery. Europe will have
>to learn to live with open borders and an open mind. It will also have to
>cherish its positive qualities, such as the "welcome culture" that has
>developed here, to discover, how much wealth and ability we have despite
>the "austerity" disease's crippling influence on the mind of politicians.
>Power to the migrant!
>On Tue, Dec 1, 2015 at 2:30 AM, Cecilia Wee <[log in to unmask]> wrote:
> Hello all
>Many thanks to everyone who has contributed to this discussion so far.
>As one of the hosts this month (together with Dani Admiss), I would like to
>touch briefly on why I am concerned with this issue as a curator and a
>On Saturday, Dani and I had the pleasure of convening a group of
>practitioners for a workshop on the subject of migration at Furtherfield
>Commons in London (web link), the IRL aspect of our project. A few CRUMB
>listers were able to join us, including Beryl Graham, Ruth Catlow and Jamie
>Allen (and we look forward to Jamie's dispatch from COP Paris later on in
>the week). We shared stories, assumptions and impressions of what we think
>'technologies of migration' are, examining their limits and thinking about
>what they could be. Taking small examples like SIM cards and ziplock bags,
>we tried to reframe and rethink the social and political contexts of such
>infrastructural technologies. We spoke about the notion of authenticity and
>about the voices who are heard in the debates about migration.
>Something significant that Dani and I took away from the workshop was that
>in spite of the rhetoric of sharing, the supposed ubiquity of outlets for
>expression otherwise termed ’social’ media, there is still a strong need to
>give space to other perspectives, to listen, to posit and practice the
>possibility of dialogue. Political positioning about migration is often
>predicated on lazy and unsophisticated images of victim, intruder,
>guardian, proud defendant of the land, traitor. The reality is of course
>more complex - for instance, what position should we take if we are
>children of migrants? Rather than reinforcing structures that dictate who
>is/isn’t the authentic voice, raising collective consciousness that
>multiple Other voices and views can and do exist, and providing a channel
>for dialogue to take place is but one example of the role art and design
>can play in social justice.
>As i walk from the tube station to College, the pristine homogenity of the
>visual environment hits me - if this was the only London i saw i would
>never believe that poverty, discrimination or inequality existed in this
>city. The necessity of making these underrepresented situations public,
>visible and tangible drives me to 'carry on curating'.
>The social media silos promote tunnel vision.
>Patriotic posturing refutes the validity of the long view, the Long Now, or
>the long ever.
>In the words of Italian Berlin-based artist Costantino Ciervo: *BORDERS ARE
>BORING - NATIONS ARE NUTS*
>Borders act as exclusionary barriers that block lines of sight.
>Poetry is important, tools are too.
>Tutor, Sound Design
>Royal College of Art
>School of Communication
>Kensington Gore, London
>E: [log in to unmask]
>T: +44 (0)20 7590 4313
>*please assume I am offline on evenings and weekends*
>Beryl Graham, Professor of New Media Art
>CRUMB web resource for new media art curators http://www.crumbweb.org
>Research Student Manager, Art and Design
>MA Curating Course Leader http://www.macurating.net
>Faculty of Arts, Design, and Media, University of Sunderland
>The David Puttnam Media Centre, St Peter's Way, Sunderland, SR6 0DD Tel: +44 191 515 2896
>New Collecting: Exhibiting and Audiences, Ashgate<http://www.ashgate.com/isbn/9781409448945>
>Rethinking Curating: Art After New Media, MIT Press<http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=12071>
>A Brief History of Curating New Media Art, The Green Box<http://www.thegreenbox.net/en/books/brief-history-curating-new-media-art>