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Sissu Tarka says: How can we think of forms of activism and collectivity that operate on a quiet level, no big gestures, or revolutionary acts, but are embedded in the everyday. How would a medium such as film be able to express this? The Surface of Each Day is a Different Planet http://www.tate.org.uk/intermediaart/raqs.shtm versus ‘spectacle against spectacle’ as with Jean-Luc Godard’s British Sounds (1970) http://www.youtube.com/watch?v=1tBLQEriebs? The silence and force of Agnès Varda’s films?!
Jacques Rancière (2004): “At the time of the Russian Revolution, art and production would be identified because they came under one and the same principle concerning the redistribution of the sensible, they came under one and the same virtue of action that opens up a form of visibility at the same time as it manufactures objects. The cult of art presupposes a revalorisation of the abilities attached to the very idea of work. However, this idea is less the discovery of the essence of human activity than a recomposition of the relationship between doing, making, being, seeing, and saying. Whatever might be the specific type of economic circuits they lie within, artistic practices are not ‘exceptions’ to other practices. They represent and reconfigure the distribution of these activities.”
And shifting smoothly to Mexican architect Luis Barragán (1902-88) who in his house Casa Barragán had installed record players in almost every room. Sonic omnipresence, or early transportable sound system.