P.1 - Dark Matter - an invisible mass predicted by the big bang theory, which 96% of universe consists of. Creative dark matter: makes up the bulk of the artistic activity produced in our post-industrial society (amateurs, hobbyists, 'failed' artists, educators) P.4 - Illumination in self-organized dark matter, a part of a greater shift taking place within the broader cultural paradigm. p.5 - W.Benjamin, 'The Author as Producer': cultural workers to become producers transforming the very means of their artistic production. Groups: PAD (Political Art Documentation/Distribution), 1980-88; REPOhistory, 1989-2000 - both informally structured groups, marginal. P.6 - there is perhaps no current problem of greater importance to cultural radicals than that of 'dark matter'.
The oversupply of artistic labour is an inherent and commnplace feature of artistic production. ... there is no getting around the fact that an increasing number of individuals are choosing to become artists.
p.7 - Boris Groys: no one sits in the audience any longer, everyone is on stage.
P.9 - 'Other' archive of critical, surplus cultural activity ... a mark or bruise within the body of high art. The system must wear this mark of difference in order to legitimate its very dominance.
The 1990s - NYC mayor Rudolph Giuliani, REPOhistory: site-specific DIY public art projects.
P.11 - 'Temporary Services', Illinois-based artist collective, urban intervention. Tactical Media (TM): a form of interventionist cultural activism that typically borrows new media technology made accessible by global capitalism in order to turn it against state and corporaet authority (media pranks, culture jamming, digital swarming, hacking corporate websites, hit-and-run electronic guerilla tactics.
TM: Critical Art Ensemble, RTMark, The Yes Men, Institute for Applied Autonomy, Bureau of Inverse Technology, 0100101110101101.org
After WW2, Western state sought to legitimate its power by aligning itself with secular democratic society and even modern experimental forms of art. Adorno: such art is a sham.
P. 13 - New pedagogical structures: mock-institutionalism, architecture is discontinuous and contradictory, with elements of not-for-profit organizations, temporary commercial structures, semi-nomadic band or tribe.
P. 14 - Ernesto Laclau, Chantal Mouffe: anti-Marxist Leftists: any universal economic explanation of society is merely a fetish or myth dreamed up by Marx... A post-structuralist take on Antonio Gramsci's hegemony concept: 'social agents lack any essence'.
P.15 Collapse of Eastern Bloc -> market's final triumph -> raison d'etre of the Left is abandoned together with class conflict -> emergence of capitalism as the totalizing world system.
P. 16 - Now a new generation of intellectuals, media activists, and interventionist artists, spurred by 2008-9 financila adjustment, are beginning to re-examine the role of labor in the so-called creative economy.
P.19 - Capitalism has always secretly depended upon certian forms of production: women's non-wages chores or 'housework', sexual procreation that literally reproduces the workforce; semi-waged work of students, children and slaves. Brecht: who builds the digital networks?
Brian Holmes: art as the linchpin of hte workfare system, in the financialized era of image sign production.
P.20 - Berlin-based Kleines Postfordistisches Drama (KPD) P.22 - the missing mass is the 'revenge of the surplus' that will ultimately re-narrate politics in an age of enterprise culture.