As someone rooted in the world of policy rather than art, I am struck by the question, posed in a post below by Dee Hibbert-Jones, of “how exactly do gestures of resistance so powerful and empowering translate into ideas of universal healthcare, social equality, fair-minded tax policies and equitable banking polices”?
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This word– MAKING — appears to be the most neutral of Creative Time’s keywords this year. But I think I want to use it to reflect upon the not entirely neutral factors that prompt some artists, critics, art administrators, and activist citizens to feel hailed by the Creative Time Summit while others barely know that it exists.
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Can the concept of tactics itself still serve a tactical purpose? One answer to this question would start by considering the extent to which “tactics” has become overdetermined in our present conjuncture. A genealogy of the term in its current sense would trace back through Michel de Certeau’s well-known appropriations of military theory to its usage in France circa 1968 around the Situationist International (as in Raoul Vaneigem’s Revolution of Everyday Life).
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It seems to me that one of the ways inequities stay in place is through our ability to separate ourselves from the Other. Powerful stories erode that ability.
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