Subtopia: A Scarecrow Empire

A Scarecrow Empire

Central to the effectiveness of any form of security is its ability to project power and to exponentialize its apparent sphere of influence beyond the verifiable boundaries of its control; to dupe people, essentially. Territory – as a material of power – succeeds in part not only because it marks its authority with definite radius but also its ability to transcend that same demarcation through a more fluid and illusory expansion of the imagination that defies the scrutiny of formal measure. Power, as a phenomenon, is as much a colonizer of the psychological landscape as it a producer or a product of the built environment. I mean, that’s one aspect, anyway – power’s ability to endure based on assumption, deception, and its occupation of the mind.

As you know, the parameters of sovereign power aren’t simply a matter of coordinates on a map, recorded border geographies, or security zones strategically linked over a grid, but are a striation of imaginary longitudes and latitudes that more abstractly territorialize an insinuation of “evil” and “threat” through the making of culture, which helps in turn to justify the constitution of power’s alleged means for interdicting “evil” well within and beyond its own borders.

In the opening of his book The Colonial Present, Derek Gregory describes Edward Said’s concept of imaginative geographies this way:

These are constructions that fold distance into difference through a series of spatializations. They work, Said argued, by multiplying partitions and enclosures that serve to demarcate “the same” from “the other,” at once constructing and calibrating a gap between the two by “designating in one’s mind a familiar space which is ‘ours’ and an unfamiliar space beyond ‘ours’ which is ‘theirs’. ‘Their’ space is often seen as the inverse of ‘our’ space’: a sort of negative, in the photographic sense that ‘they’ might develop into something like “us,” but also the site of an absence, because “they” are seen to lack the positive tonalities that supposedly distinguish “us”. We might think of imaginative geographies as fabrications, a word that usefully combines “something fictionalized” and “something made real,” because they are imaginations given substance.

An idea you undoubtedly are familiar with already, but which also makes more obvious the notion that power is often exercised because its authority is unchecked and taken completely for granted, as it is a kind of ethos that populates thought, and in this sense it is the invisibility of the border that wields tremendous influence here, the dissolution of it; the border’s internalization and exportation beyond the site of the border itself and as anything but structurally visible. I guess in simpler terms, the point here is that a border often exists only because the public believes it does, and that is usually enough to contain or deter them.


[Image: Via The Subversion.]

Read entire wonderfully illustrated article at Subtopia: A Scarecrow Empire.

Exhibit: Suitcases from a State Hospital Attic

The Willard Suitcases

Please click here for information about and exhibition dates of the Traveling Exhibit

When Willard Psychiatric Center in New York’s Finger Lakes closed in 1995, workers discovered hundreds of suitcases in the attic of an abandoned building.  Many of them appeared untouched since their owners packed them decades earlier before entering the institution.

The Willard Suitcase Exhibit Online

Burning Flipside 2008

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Video by Floyd Anderson

Stan Winston dies of cancer at 62

LOS ANGELES (AP) - Stan Winston, the Oscar-winning special-effects maestro responsible for bringing the dinosaurs of “Jurrasic Park” and other iconic movie creatures to life, has died. He was 62.

Winston died at his home in Malibu surrounded by family on Sunday evening after a seven-year struggle with multiple myeloma, according to a representative from Stan Winston Studio.

Stan Winston dies of cancer at 62

Raid at Detroit art gallery sows the seeds of rebellion | Freep.com | Detroit Free Press

Raid at Detroit art gallery sows the seeds of rebellion

The DJ was spinning old records by James Brown, Aretha Franklin and the Meters during Funk Night last weekend, when the heavily armed cops dressed in commando-style uniforms burst into the west-side Detroit art gallery.

The cops yelled at the patrons to hit the floor. Witnesses said some officers used their feet to force down a couple of people who failed to move fast enough or asked too many questions.

Detroit police conduct raids frequently for all sorts of illegal activity, and the public never hears a thing. But cops almost never raid art galleries filled with young hipsters, students and at least one lawyer. So this May 30 raid, not unexpectedly, is turning out to have an afterlife: The gallery and patrons have decided to fight back, and the American Civil Liberties Union has become involved.

The site of the raid, the Contemporary Art Institute of Detroit — CAID — on Rosa Parks Boulevard, is a nonprofit that, for 29 years, has promoted art and art education in Detroit. Aaron Timlin, CAID’s executive director and a Detroit booster, notes that CAID’s current exhibit, architectural designs to improve neighborhoods, is cosponsored by the City of Detroit.

Raid at Detroit art gallery sows the seeds of rebellion | Freep.com | Detroit Free Press