Participatory art within, against and beyond financialization: benign pessimism, tactical parasitics and the encrypted common.
This essay examines three critical artists who orchestrate participatory spectacles and experiences as a means of challenging neoliberal financialization, an overarching paradigm and process that is reshaping economics, politics, society and culture. Critical art, I argue, can offer us a particularl...
| Publicado en: | Cultural Studies Vol. 32; no. 4; pp. 530 - 560 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jul2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=129483796&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 129483796 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09502386 05G jtl: Cultural Studies issn: 09502386 maglogo: N pubinfo: dt: Jul2018 vid: 32 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 129483796 10.1080/09502386.2017.1363260 ppf: 530 ppct: 30 formats: fmt: – @attributes: type: T – @attributes: type: P size: 3.2MB tig: atl: Participatory art within, against and beyond financialization: benign pessimism, tactical parasitics and the encrypted common. aug: au: Haiven, Max affil: Canada Research Chair in Culture, Media and Social Justice, Lakehead University, Thunder Bay, Canada su: Neoliberalism Financialization Finance Pessimism Practical politics sug: subj: Neoliberalism Financialization Finance Pessimism Practical politics keyword: Art finance markets money participatory culture technology ab: This essay examines three critical artists who orchestrate participatory spectacles and experiences as a means of challenging neoliberal financialization, an overarching paradigm and process that is reshaping economics, politics, society and culture. Critical art, I argue, can offer us a particularly insightful vantage point on these transformations. This is not, as it is usually supposed, because art has some lofty transcendental perspective above society; rather, it is precisely because art is already so deeply integrated into finance and financialization. Not coincidentally, "participation" appears as a keyword for the restructuring of both art and finance today, which I argue is key to understanding the challenges, limits and potentials of even avowedly critical participatory art, with lessons for cultural production more broadly. In order to analyse and draw broader lessons from the three artworks in question, I identify each with a strategic paradigm: benign pessimism, tactical parasitism and the encrypted common. These strategies, I argue, emerge within, against and beyond financialization and can help complicate our approach to its complex cultural politics. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Cultural Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Cultural Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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