Saturday, 28 July 2012

The Occupation Cookbook: direct democracy in practice


The Occupation Cookbook presents the model of the student occupation of the Faculty of Humanities and Social Sciences in Zagreb during the spring of 2009; it is published by Minor Compositions in London, and distributed by Autonomedia in the US. The printed book is for sale, while the pdf format is available as a free download at Minor Compositions; the website of the occupation also includes the text in html format.

But why did the model of this occupation attract international attention? It constituted an impressively open and inclusive process, based on free access; that is to say, it included anyone wishing to participate, regardless of whether they were a student of the faculty or not, and granted them the right to vote in the plenum, the decision-making body of the occupation (pp. 17-18):

First of all, the faculty was not occupied in such a manner that access into the building was physically forbidden to all but the occupying students, as is sometimes done. Therefore, it would be more appropriate to refer to this as ‘student control over the faculty’ than an ‘occupation.’ Only regular classes were blocked, everything else was allowed to function as usual (the administration, the library, the bookshop and other facilities within the faculty building were working normally while the professors could work in their offices as usual). Secondly, the faculty was open to everyone (students from other faculties, regular citizens, journalists etc.). Thirdly, plenums (plenary assemblies) at which all decisions were made concerning the functioning of the occupied faculty was also open not only to the students of the Faculty of Humanities and Social Sciences in Zagreb (FHSS) but to everybody. Anyone who came to the plenum had the right to participate in it and to vote.

The Occupation Cookbook, p. 52

It is equally important to note the effectiveness of the forms of organization themselves; the book provides a detailed account of the ways in which the plenum was organised, including its rules and guidelines. It furthermore discusses the role of teams and working groups, and addresses the occupation's code of conduct, media strategy, and wider social context. The protest lasted for 35 days and the students' demand was "free publicly financed education on all levels available to all" (p. 17).

The book explains the open character of the protest on the basis of its goal: "[s]ince the demand for free education for all is one that concerns the general public and since the university is a public institution, the “open door policy” was considered to be the only consistent one" (p. 27). This is the reason why Marc Bousquet argues in his introduction that the Croatian occupations were not closures of the campus, but radical re-openings via direct-democratic means which provided maximum public access (pp. 10-11). It is in this respect that the student occupation of the Faculty of Humanities and Social Sciences in Zagreb provides an attractive and fruitful answer to a significant question; as Mark Bousquet puts it (p. 7):

What does it mean to "occupy" a school? A school occupation is not, as the corporate media like to portray it, a hostile takeover. A school occupation is an action by those who are already its inhabitants – students, faculty, and staff – and those for whom the school exists. (Which is to say for a public institution, the public itself.) The actions termed "occupations" of a public institution, then, are really re-occupations, a renovation and reopening to the public of a space long captured and stolen by the private interests of wealth and privilege. The goal of this renovation and reopening is to inhabit school spaces as fully as possible, to make them truly habitable – to make the school a place fit for living.

Sunday, 22 July 2012

Henry David Thoreau: a peaceable revolution, if any such is possible

 
Under a government which imprisons any unjustly, the true place for a just man is also a prison. The proper place to-day, the only place which Massachusetts has provided for her freer and less desponding spirits, is in her prisons, to be put out and locked out of the State by her own act, as they have already put themselves out by their principles. It is there that the fugitive slave, and the Mexican prisoner on parole, and the Indian come to plead the wrongs of his race, should find them; on that separate, but more free and honorable ground, where the State places those who are not with her but against her,—the only house in a slave-state in which a free man can abide with honor. If any think that their influence would be lost there, and their voices no longer afflict the ear of the State, that they would not be as an enemy within its walls, they do not know by how much truth is stronger than error, nor how much more eloquently and effectively he can combat injustice who has experienced a little in his own person. Cast your whole vote, not a strip of paper merely, but your whole influence. A minority is powerless while it conforms to the majority; it is not even a minority then; but it is irresistible when it clogs by its whole weight. If the alternative is to keep all just men in prison, or give up war and slavery, the State will not hesitate which to choose. If a thousand men were not to pay their tax-bills this year, that would not be a violent and bloody measure, as it would be to pay them, and enable the State to commit violence and shed innocent blood. This is, in fact, the definition of a peaceable revolution, if any such is possible.

This is a characteristic excerpt from Henry David Thoreau's essay Civil Disobedience; it was first published in 1849, and is available in full at Wikisource. This text was pivotal to the development of a whole tradition of resistance; it influenced the political thinking and action of Mahatma Gandhi and Martin Luther King, as well as attracted the attention of major writers and thinkers, including Leo Tolstoy, Marcel Proust, and Ernest Hemingway. Henry David Thoreau was an author, a poet, and a philosopher, whose ideas remain relevant due to their originality and insightfulness. Walden, published in 1854, and also available in full at Wikisource, is another good example. I happen to know people who grew up a century and a half later on the other side of the Atlantic, having written the following excerpt on their bedroom wall; and there aren't many authors I can say that about.  

I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.

Tuesday, 17 July 2012

And sometimes heaven and thoughts of wonder: Jon Lord, 1941–2012

jonlord.org 

Sadly, Jon Lord passed away yesterday. It has always been natural to address him as one of the most important figures, and the greatest keyboard player, in the history of rock music; and yet, he was more than that. Jon Lord was an exceptional musician in that he was distinguished both as a  composer and a soloist, and his interests and abilities transcended genres, including hard rock, the blues, progressive rock, classical music, and fusion. 

Choosing a representative sample of music from a career spanning over six decades may not be the easiest of tasks, but if I was to choose just one track, that would be the title track of his 1998 album Pictured Within. The following live version is from the DVD Deep Purple in Concert with the London Symphony Orchestra, which was recorded at the Royal Albert Hall in September 1999. The LSO is conducted by Paul Mann, and Pictured Within is sung by Miller Anderson; the lyrics have been written by Jon Lord. 



                                   here be friends...
                                   here be heroes...
                                   here be sunshine...
                                   here be grey...
                                   here be life...
                                   here love lies bleeding...
                                   memories so hazy...
                                   and dreams that drove me crazy

                                    here be down...
                                    here be paradise...
                                    here be starbright...
                                    here be pain...
                                    here be smiles in eyes like rainbows...
                                    my father and my mother...
                                    my sisters and my brother -
                                    pictured within

                                    where there're shadows ill met by moonlight...
                                    there be dragons I have slain...
                                    and here be bright eyes with hair so golden...
                                    sunrise and sunset and running free...
                                    and laughing at the rain

                                     here be home...
                                     here be travellin'...
                                     here be thunder...
                                     here be blue...
                                     and sometimes heaven and thoughts of wonder...
                                     the miracle of children...
                                     a poet and a pilgrim

                                     kith and kin - pictured within
                                     lose and win - pictured within

Jon Lord was classically trained, and he maintained his interest in classical music throughout  his life, as is evident in a variety of releases ranging from the Gemini Suite, Windows, and Sarabande in the 1970s, to the Boom of the Tingling Strings and To Notice Such Things in 2008 and 2010 respectively. However, his first and groundbreaking attempt to fuse rock and classical music was his Concerto for Group and Orchestra, a Deep Purple album recorded live at the Royal Albert Hall in 1969 with the Royal Philharmonic Orchestra, conducted by Malcolm Arnold; a video of this performance is available here. Thirty years later, the Concerto was performed in the same premises; the following videos present its three movements in full, and are part of the aforementioned DVD Deep Purple in Concert with the London Symphony Orchestra. The Concerto was also performed internationally between 2000 and 2010.




During his long career, Jon Lord was involved in a variety of rock bands and projects; but first and foremost, he was the founder of, and a key driving force in, Deep Purple. In the first of the following videos he discusses the band's landmark album In Rock, and the development of his trademark Hammond organ sound. Deep Purple enjoy the status of pioneers and innovators on the basis of their unique sound, quintessential compositions, and unmatchable improvisational abilities; and it is due to the latter quality that they also happen to be the only band who has far more live albums than studio releases

It is in this respect that I have chosen live versions of two pivotal Deep Purple tracks. Child in Time is performed at the BBC in 1970 by Jon Lord on the Hammond organ, Ritchie Blackmore on guitar, Ian Paice on drums, Roger Glover on bass, and Ian Gillan on vocals; this of course is the classic Mark II line up in its halcyon days. Lazy is another astonishing performance, this time in Melbourne in 1999 by the Mark VI line up; the band, with  Steve Morse on guitar, had reinvented themselves, and entered a new era of musical creativity and evolution.




I have had the pleasure to see Jon Lord perform with Deep Purple Mark V, Mark II (second reunion), and Mark VII. It is not simply that his musicianship was always of the highest level; it is that he played with immense love, respect, and care for the music, the band, and the audience. And most of all, whether the Hammond soared its storming riffs over hands instantly raised in the air, or the piano sent its delicate notes to an audience holding its breath, whether it was groovy blues chords, or classically structured melodies, the spirituality of his performance was always there, both in terms of musical quality and personal dignity. This is what Jon Lord was for me; and he will be missed terribly much.  

Photograph by Csaba Molek  jonlord.org


See also:



 

Sunday, 15 July 2012

Move On Up, by Curtis Mayfield


And speaking of a field theory of black music, here's one of its many cornerstones: Move On Up, from Curtis Mayfield's debut album Curtis, released in 1970. In other words, an impeccable performance by a musically prominent and politically conscious figure in African-American history.

 
  
 Hush now child, and don't you cry
Your folks might understand you, by and by
Just move on up, toward your destination
Though you may find, from time to time, complication                                                                                                                                                                              Bite your lip, and take a trip
Though there may be wet road ahead
And you cannot slip
Just move on up, for peace will find
Into the steeple of beautiful people
Where there's only one kind
  
So hush now child, and don't you cry
Your folks might understand you, by and by
Move on up, and keep on wishing
Remember your dream is your only scheme
So keep on pushing
  
Take nothing less than the second best
Do not obey, you must keep your say
You can past the test
Just move on up, to a greater day
With just a little faith
If you put your mind to it you can surely do it
  
Just move on up
Move on up
But move on up
Oh child, but just move on up
But move on up
Move on up
 

Wednesday, 11 July 2012

Black Radio, by the Robert Glasper Experiment


Is Black Radio a "unified field theory for black music," as npr titled its interview with Robert Glasper? It most certainly sounds like one, in that it is an impressively adventurous and imaginative release; as the band argues, the album "transcends any notion of genre, drawing from jazz, hip hop, R&B and rock, but refusing to be pinned down by any one tag." The Robert Glasper Experiment consists of Casey Benjamin on saxophone, Derrick Hodge on bass, Chris Dave on drums, and Robert Glasper on keyboards. Black Radio also features a wide spectrum of special guests, including Erykah Badu, Bilal, Lupe Fiasco, Lalah Hathaway, Shafiq Husayn of Sa-Ra, KING, Ledisi, Chrisette Michele, Mos Def, Musiq Soulchild, Meshell Ndegeocello, and Stokley Williams of Mint Condition.

 

Thursday, 5 July 2012

My Dakota, by Rebecca Norris Webb

Rebecca Norris Webb   The Sky Below   TIMELightBox

My Dakota is an astonishing project in the form of a book and an exhibition by the photographer and poet Rebecca Norris Webb. Eloquently addressed as "the landscape of loss" by Suzanne Shaheen in The New Yorker, it is the documentation of Rebecca Norris Webb's journey into her home state of South Dakota, in the course of which she learned that her brother had suddenly passed away. The landscape of this region was among the few things that could ease her pain; "[i]t seemed," she argues in TIMELightBox, "all I could do was drive through the badlands and prairies and photograph. I began to wonder: Does loss have its own geography?" When James Estrin of The New York Times asked her what she learned from doing the project, Rebecca Norris Webb replied as follows:

It's taken me much of life to learn to trust my creative process, an often slow, meandering path towards understanding life and death and the world through the process of photographing — and sometimes writing about — images that intrigue me for some reason.

Rebecca Norris Webb   Hot Springs   TIMELightBox

Rebecca Norris Webb   Blackbirds   TIMELightBox

It is not often that one comes across work of such meditative expressiveness, aesthetic quality, and emotional magnitude; in short, photography rarely gets as exceptional as this. Rebecca Norris Webb is also an artist whose words matter; they correspond to the visual work in substantial ways, as in this excerpt from TIMELightBox:

They say your first death is like your first love—and you’re never quite the same afterwards. After my brother died, my photographs started to change. They were more muted, often autumnal. I remember saying to the writer, Linda Hasselstrom at her ranch house near Hermosa, South Dakota, where I did much of the writing for the book, "I see summer, fall, and winter, in the photographs, but not spring."

"When you’re grieving, there isn’t any spring," Hasselstrom replied.
 
Looking again at the work now that My Dakota is finally a book, I realize that I was photographing this particularly dark time in my life in order to try to absorb it, to distill it, and, ultimately, to let it go. Not only did my first grief change me, but making My Dakota changed me as well, both as a human being and as a bookmaker.

Rebecca Norris Webb   Storm Light   TIMELightBox

Monday, 2 July 2012

Year of Rebellion: reflections on the Arab Spring

AP Photo/Hasan Jamali  theatlantic.com

2011 was a year without precedent for the peoples of the Middle East and North Africa region. It was a year in which millions of people of all ages and backgrounds, especially the young and often with women to the fore, flooded on to the streets to demand change. Often, they continued to do so in the face of extreme violence meted out by the military and security forces of those who claimed to govern – and who had continued to enjoy and to squander the fruits of power – in their very name.

This is how Amnesty International begins its report Year of Rebellion: the State of Human Rights in the Middle East and North Africa (p. 1), a fruitful reflection on the ongoing social and political movements that have often been addressed as the "Arab Spring". And there is also the following video, bringing together views of people from all over the world; as one of the interviewees says, "I will remember forever that the power is in the people's hands".