Meanwhile . . . .

Trying to keep track of ongoing as well as more recent disasters, I found myself remembering these images, which some of you may have missed (click on the images for larger versions).

They were finally made available in 2005 after a series of F.O.I.A. requests and a lawsuit charging the Pentagon with failing to comply with the Act. When the Pentagon finally complied, the faces were blacked out (the Pentagon claimed it needed to "conceal identifiable personal information of military personnel involved in the homecoming ceremonies.")

The resulting images are eerily eloquent and complex, perhaps exemplifying what Matt McCormick has called "subconscious art."

More photos and info at the National Security Archive.

Artist Jill Magid's "Authority to Remove" Is Removed by Dutch Authorities

Magid specializes in exploring issues of surveillance, privacy, secrecy, and what's inside vs. outside.

E.g., for Evidence Locker (multimedia installation with video, "Reading Room," and other components, ca. 2007), she staged performances in front of London surveillance cameras. She then "submit[ed] 31 Subject Access Request Forms – the legal document necessary to outline to the police details of how and when an 'incident' occurred" – and used the resulting footage to create the video component of the installation.

When a recent exhibition of Magid's latest project, called "Authority to Remove," closed at Tate Modern, Dutch authorities removed and sealed much of the work included in the show – work the Dutch Secret Service had originally commissioned – thus consummating the work.

Dutch law requires that a small portion of the construction budgets for public buildings be devoted to commissioning new art. The Dutch Secret Service had commissioned Magid to make some, and had cooperated with her proposal to interview agents about their personal lives.

In the course of her commission, she produced her "first novel," a book based on her interviews of 18 agents. Although she masked their identities by calling all the men "Vincent" and all the women "Miranda," "[t]he agency found her work quite challenging and dangerous . . . ." The agency ultimately agreed to allow the text to be exhibited just once, and only with some 40% of the text whited out; it also required Magid to agree that upon the show's closing, the book and her notes would be sealed and archived in the same manner as the notes of a retiring agent.

Magid is publishing the prologue and epilogue of her original text under the title, Becoming Tarden (click on the pic below for a more legible image), the entirety of which can be found online here.

In her epilogue, she quotes her agency "advisor":

How far can they go to erase your experience? . . . Besides conducting surgery on your brain, how can they succeed? You cannot be the same person after this assignment; it has profoundly affected you and altered your perception of the world. How can they remove that?

How far, indeed – here's hoping Magid has, unlike Lombardi, placed copies with a reliable friend.

From artdaily and The WSJ here and here; and see a nice slide show at The WSJ here.

Magid's site is here.; she's represented by Yvon Lambert.

"Cyberlitter"

would, i.m.h.o., include posts that contain quotations or other materials created by others, or asserting facts, without info or links identifying the original creators/sources, or providing credible authority.

Yeah, I'm guilty; but less than most.

Haiti: "Stop Them Before They Shock Again"

Inside FB

Fascinating interview with an anonymous employee, here (thanks, Ben!) As you know, they track everything you do and save it forever, regardless of any deletions you may think you've made.

I also note that, taking this employee's lowest estimate of the number of active users and her highest estimate of the number of servers, there are 27,500 users per server. She also says an in-progress re-coding of the site is expected to "reduce our CPU usage on our servers by 80%."

I realize FB has expenses other than the servers themselves, but I'm still not clear why a FB-like facility owned by users and accessed for a relatively small subscription fee should be expected to remain economically infeasible forever.

"While There May Be Complacency on Wall St., . . .

uptown . . . the only question is, when is the next crisis going to happen," says Nobel-winning Joseph Stiglitz.



(Thanks, girl gone mad! And to DeSwiss, who adds this quote:

America is run largely by and for about 5,000 people who are actively supported by 50,000 beavers eager to take their places. I arrive at this figure this way: maybe 2,500 megacorporation executives, 500 politicians, lobbyists and Congressional committee chairmen, 500 investment bankers, 500 partners in major accounting firms, 500 labor brokers. If you don't like my figures, make up your own.

– Robert Townsend, former head of Avis)

"blind.ness"

by WaxFactory looks cool:



More at Brooklyn Rail.

C.A.R.T.E.L.

Feeling like your little artists' collective could use some "too-big-to-fail"?

Many years in the making, New York City-based 16 Beaver Group announced today the initiation of a complex multiyear process that will produce the largest global merger of arts and politics collectives known to date. Critics immediately attacked the move as being, “out of touch with recent developments in art and economics.” But the group argued at their press conference that the new mega-art collective, which will use the acronym C.A.R.T.E.L. (the group did not specify what each letter stands for), will soon be ready to compete within the current monopolistic anti-marketplace. C.A.R.T.E.L. plans to bring to a politicized cultural community a significant share of the benefits enjoyed by the recent slew of mega-mergers, also known as rescues, such as the few and well subsidized surviving banks that have risen from the ashes of the economic meltdown.

How about "Conglomerated ARTists of Every Leaning"? At any rate, count me in.

More at Art Work (via Temporary Services; see previous post here). To join C.A.R.T.E.L., e-mail cartel@16beavergroup.org.