Author Archive for Paul Aitken

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The Language of Dissent

Big news. Inspirational.

A 21-year-old page lost her job Friday after walking onto the Senate floor during the speech from the throne to protest against Prime Minister Stephen Harper.

This act by such a young person has caught the attention of the media across the country, and rightly so. It was an act of bravery by a member of a generation that have been variously labelled as apathetic, lazy, politically disengaged, etc. Not that miss DePape is necessarily a voice of her generation, but certainly we can no longer make such sweeping generalisations about the under 30 set.

In typical fashion, much of the uproar has focused on the style and form of the protest, and not on the content of her (and many others’) objections to the Harper regime and it’s anti-democratic policies. Green leader Elizabeth May has called the protest “inappropriate,” Conservative blowhard senator Mike Duffy dismissed it as a “stunt,” and Bob Rae – in language that echoes the types of conservative resistance to African American integration and women’s rights – has noted that such ceremonies (the throne speech) are sacred and ought not to be disrupted. (watch the accompanying videos on the article).

Such a non-partisan  reaction to DePape’s act is evidence of the supine attitude of today’s entrenched political class; and this is precisely why actions such as DePape’s are needed. How else is dissent to be voiced if it first must conform to the “proper” expectations of the ruling class? There is no such thing as “legitimate protest;” such an oxymoron fails to account for the greater necessity to challenge the sedimentation of procedure and “legitimate” process – what is allowed and what is not. A protest that is sanctioned by ruling elites does little to undermine and drill down to the root cause for the existence of and adherence to such procedures/processes/traditions: the establishment and maintenance of hierarchical power relations; the institutionalisation and perpetuation of power for the few over the many.

DePape’s tremendous act, combined with the focus on its disruption of procedure and the ruling class’s uniform dismissal provides further evidence that dissenting views (or, in DePape’s electoral/mathematical language, the 3/4 of us who do not hold “conservative values”) are spoken in a language that simply cannot be understood by the ruling elite. This is a dissent characterised by, among other things, voter absenteeism (not always a case of apathy) and disregard for proper procedure. And  ruling elites have no investment in or means for communicating with such dissent: why would a government able to form a “majority” by winning 60% of 40% of all the eligible votes be interested in enticing all of those who didn’t vote to come join in? Why would a parliamentary system that hinges on the idea that one can represent the many be interested in hearing the voices of those who speak themselves and not through their appointed representatives? In this sense, dissent is speaking truth to power in a way that power simply cannot and will not understand. But does this mean that dissent needs to change its language to match that of the dominant? I’d argue no.

Could it not be the case that the political establishement’s reaction to DePape’s protest is informed by some sort of (subconscious?) acknowledgement that, in fact, her message was not directed at them at all? And by not directing it at them, could she be effectively undermining their authority as arbiters of right and wrong? Indeed, since parliamentary chambers are places of tradition and “proper procedure” a simple placard would have little effect in such a space. Her means of protest will find and has found greater resonance in the media and across the discursive terrain of the Internet than it will/has in any parliamentary registry or minutes sheet. Thus, like tired old kings whose decrees fall on deaf ears or are blatantly ignored, the ruling elites scream “foul”: she’s not playing by our rules…and we don’t like it! They fetishise “rules” and process as a means of distracting us from the illegitimacy of their power.

Forms of civil disobedience, like the rejection of staid parliamentary procedure, not to mention damaging corporate property and the subversive use of technologies (pirate radio, media piracy), serve to highlight the inability and unwillingness of ruling classes to live up to their empty promises of “democracy” and “freedom.” They further highlight the necessity of such forms of protest in an era where dissent has been commodified in the form of increasingly divisive and hyper-individualised PR campaigns such as Product RED or “green” profiteering. Moroever, such acts reinforce the need to carve out and expand spaces for voicing  dissent; spaces that are not determined in advance by law enforcement and safely placed far from the eyes and ears of power, subject to strategic anti-democratic modes of surveillance, scare tactics, and punitive discipline.

Democracy and freedom are not embodied in 19th Century regalia and tradition any more than they are in Greek statuary, Romanesque columns, Stars and Stripes, battlefield memorials, or checkboxes on ballots. They are acts, continuous disruptive events that make and remake the world. What better place to do this than in the seat of Canadian democracy?

Bravo!

The Revolution Will Be Live

The Revolution Will Not Be Televised

You will not be able to stay home, brother.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and skip,
Skip out for beer during commercials, because the revolution will not be televised.

The revolution will not be televised.

The revolution will not be brought to you by Xerox in 4 parts without commercial interruptions.

The revolution will not show you pictures of Nixon blowing a bugle and leading a charge by John Mitchell, General Abrams and Spiro Agnew to eat hog maws confiscated from a Harlem sanctuary.

The revolution will not be televised.

The revolution will not be brought to you by the Schaefer Award Theatre and will not star Natalie Woods and Steve McQueen or Bullwinkle and Julia.

The revolution will not give your mouth sex appeal.
The revolution will not get rid of the nubs.
The revolution will not make you look five pounds thinner, because the revolution will not be televised, Brother.

There will be no pictures of you and Willie May pushing that shopping cart down the block on the dead run, or trying to slide that color television into a stolen ambulance.

NBC will not be able predict the winner at 8:32 or report from 29 districts.

The revolution will not be televised.

There will be no pictures of pigs shooting down brothers in the instant replay. There will be no pictures of pigs shooting down brothers in the instant replay.

There will be no pictures of Whitney Young being run out of Harlem on a rail with a brand new process.

There will be no slow motion or still life of Roy Wilkens strolling through Watts in a Red, Black and Green liberation jumpsuit that he had been saving For just the proper occasion.

Green Acres, The Beverly Hillbillies, and Hooterville Junction will no longer be so damned relevant, and women will not care if Dick finally gets down with Jane on Search for Tomorrow because Black people will be in the street looking for a brighter day.

The revolution will not be televised.

There will be no highlights on the eleven o’clock news and no pictures of hairy armed women liberationists and Jackie Onassis blowing her nose.

The theme song will not be written by Jim Webb, Francis Scott Key, nor sung by Glen Campbell, Tom Jones, Johnny Cash, Englebert Humperdink, or the Rare Earth.

The revolution will not be televised.

The revolution will not be right back after a message about a white tornado, white lightning, or white people.

You will not have to worry about a dove in your
bedroom, a tiger in your tank, or the giant in your toilet bowl.
The revolution will not go better with Coke.
The revolution will not fight the germs that may cause bad breath.

The revolution will put you in the driver’s seat.
The revolution will not be televised, will not be televised,
will not be televised, will not be televised.
The revolution will be no re-run brothers;

The revolution will be live.

Stop the Meter

via openmedia.ca
Internet Service Providers (ISPs) are about to impose usage-based billing on YOU.

This means we’re looking at a future where ISPs will charge per byte, the way they do with smart phones. If we allow this to happen Canadians will have no choice but to pay MUCH more for less Internet. Big Telecom companies are obviously trying to gouge consumers, control the Internet market, and ensure that consumers continue to subscribe to their television services.

These Big Telecom companies are forcing small competing ISPs to adopt the same pricing scheme, so that we have no choice but to pay these punitive fees.

This will crush innovative services, Canada’s digital competitiveness, and your wallet.

We urgently need to send a clear message to Ottawa, saying that we won’t stand by while some of the most profitable companies in the country indiscriminately add new fees to our Internet bills. Enough is enough.

UPDATE: The CRTC just made a decision that paves the way for new internet fees to be added to your bill. To stop this we need to raise our voices now more than ever.

The Open Band?

I am highly ambivalent about the discourse that posit “open-source” as a way to save the music business. This is because on the one hand I am excited at the prospect of fans feeling more engaged and part of the process of making a bands success, beyond their already existing capacity to sell out shows and purchase tour merchandise. On the other hand though, the strategies offered here appear to be expropriating common fan activities: there is a direct effort to harness the creative and cognitive capacities of fans and translate these into monetary gain for the band. For example.

The first is to put open distribution and community at the heart of the band, and to use these elements as catalysts to build growth, awareness and expose the benefits of what I am referring to as the Open Band approach. (emphasis added)

It seems to me that community is something that develops alongside and through association with a band. As a fan practice, this is nothing new. What is new is the explicit attempt to craft this as a strategy in response to major labels backing down from providing distribution and touring support. Much like what is happening generally under neoliberal ideology, a forced entrepreneurialism raises its head in two ways: 1) the band is more or less compelled to take responsibility for what the label used to do (though really, the large majority of professional musicians have always had to do this, so this alone is nothing new) 2) fans’ traditional (pleasure seeking) activities are discursively situated as assisting in honing the band’s competitive edge. Being a fan now takes on an instrumental logic.

Indeed, this logic, and the language of the market are reinforced further here

In a recording industry environment that is widely regarded as ineffective, if we provide a solid example of a band that provides free access to content (which significantly lowers the barrier to attract fans) and empowers those fans with a community, this results in a wider fanbase that feels a closer sense of commitment to supporting their favorite bands. Of course, the same approach could be applied to other creative endeavors: publishing, art, video and more. My goal is to make Severed Fifth a successful and repeatable template. (emphasis added)

It appears right out of the corporate-speak dictionary. Fans have always proven capable of autonomously producing, maintaining, and (importantly) dismantling communities, and have proved similarly adept at showing their commitment to their favourite artists and to helping promote them (e.g. in my hometown, there is a rail bridge that has, since the 1970s, been emblazoned with gigantic (and fading) graffiti declaring “LED ZEPPELIN”). The difference now is that such organic, autonomous fan tactics are now facing expropriation. Those seeking to profit from their musical endeavours appear to internalise neoliberal ideology in an attempt to colonise and extract value from the common. And it is dressed, as always, in the language of empowerment.

That said, I do wish Severed Fifth musical success and empathise with the “we’ll try anything” approach to getting their music out there.

20 Music TED Talks

Via Bachelor’s Degree. I think I might spend some time going through these.

  1. David Byrne: How architecture helped music evolve: David Byrne is so cool he could power a room full of cryogenic pods just by staring at them. Here, he channels his impressive experiences playing everywhere from CBGB and Tootsie’s to Carnegie Hall and Disney Hall to discuss the impact that architecture held over his compositions. Everything had to be written to suit the challenges of a specific space, and Byrne broadens his observations to encompass the whole of music history. He even points out similarities between this phenomenon and similar concepts found in nature, using sparrows and tanagers as an example.
  2. Adam Sadowsky engineers a viral music video: Emerging technologies and social media have changed the face of music forever, and bands such as OK Go discovered creative ways to yield the internet as a promotional tool. Even those who don’t much enjoy their music still appreciate the imagination and painstaking detail that goes into their viral videos. “This Too Shall Pass” charmed audiences in early 2010 for its immensely clever, highly competent use of Rube Goldberg-inspired engineering — and, as intended, quickly went viral. In this illuminating TED Talk, the man behind the plan reveals the methods behind designing and building the wondrous machinery that became a massive online hit.
  3. Eric Whitacre: A choir as big as the internet: Another excellent video demonstrating the increasingly more intimate relationship between the internet and music, this time showing off an impressive understanding and utilization of both. 185 participants hailing from 12 countries submitted videos and audio files of themselves singing the individual parts of conductor and composer Eric Whitacre’s original choral arrangement “Lux Aurumque.” A showstopping virtual choir results, with everyone’s submission carefully, passionately pieced together into one video. It especially warrants viewing by music students and aficionados with a particular interest in how art can blend with technology in new and exciting ways.
  4. Bobby McFerrin hacks your brain with music: Music fans looking for a little stimulation on a time crunch should check out this amazing talk by 10-time Grammy winner Bobby McFerrin, famous for the ubiquitous “Don’t Worry Be Happy.” In only three minutes, he uses audience participation to illustrate the pentatonic scale and points out some stunning facts lurking behind it. With only a small amount of hinting, he’s able to conduct a spontaneous, improvised choir capable of following his musical commands. How this phenomenon works is not exactly explained — scientists themselves might also find it baffling — but it definitely highlights the wonderful mysteries inherent in the human mind and its relationship with established musical patterns.

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