an gläubiger der kapitalerträge - union investment - union investment service bank ag · „bildung, wirtschaft, arbeit im quartier - biwaq“ investment punk -. Anarcho-Punk, Politics and Music Edited by Mike Dines & Matthew Worley album Penis Envy brought to a head the willingness of the collective to invest time. This article contends with the strong impulses of success and failure we often invest in queer objects and subjects. Instead of asking for more, I ask: what might .
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PDF | On Jan 1, , Philip Lewin and others published The ideology and practice of authenticity in punk subculture. punk pdf. Bei soundofheaven.info findest Du alles was man braucht! soundofheaven.info: Der Mailorder fÃ¼r Punk Oktober in Wien) ist ein Ã¶sterreichischer Investment Banker. University of Kansas. This paper examines punk subcultures as a response to “ the condition of . The first identifies a homology between postmodernism and punk per- formance, attitude investment in youth, music, and style. History may.
No Future: Through an analytics of the weak, I not only recalibrate how performa- tivity functions for the discourse on social art but also closely examine insincere performatives as they nuance queer failure. Flailing, as an aesthetic quality, functions by blurring across figure and ground, subject and environment, and amateur and professional. Such institutional relations possess no revolutionary consequences c and reveal a con- senting and submissive relation to institutions d. New York:
Part of this is due to the fact that punk rock itself down major label offers and, unlike most bands, Fugazi does not make and sell band merchandise such as T-shirts, nor do they sell their record- ings at shows, in part to emphasize that the shared experience of music 36 Common forms of political activity in punk circles include the production of is not about buying and selling but the experience itself. Other ning many of the destructive aspects of punk culture such as violent sectors of the punk community, however, have been strongly anti-political to the "slam dancing" and punk's tendency to alienate women and men who point of glorifying political apathy.
Both tendencies, of course, claim that they rep- do not embrace punk rock's macho tendencies. Marion Boyars, Post-punk, college rock, hardcore, post-hardcore, parent, and so on. Punk artists also tend to and former punks to develop practices of culture-making, approaches branch out beyond any perceivable genre connection to punk rock, em- to political action, and lifestyle and career choices that encourage human bracing such musical forms as folk, electronic, and dance music, taking agency and participatory human community in various dimensions of the values of DIY punk along with them.
DIY punk's influence has not life. Its influence as a socio-political move- ment is particularly notable. While many punks defiantly proclaimed "fuck religion" as City.
This approach. Now in his forties, Andersen has brought DIY punk into the to politics intends to render traditional political structures and strategies broader arena of his life and of the community. While still very connected with the irrelevant and it is in such a way, punks hope, that oppressive structures DC music scene and punk activist community, his primary work these days is social will be destroyed rather than through revolution as conceived by tradi- justice activism with the homeless and elderly that he says is animated both by his tional Marxist and other state-centered approaches 42 Catholic faith and his punk rock roots, which he says he hopes he will never lose.
Revolution without Illusion Chicago: Punk they age, becoming an entire way of life. Punk rockers who were exposed Planet Books, For an account of his linkage of punk and religious faith through to the DIY ethic through music communities often speak of the desire to youth activism, see Celeste Kennel-Shank, "Green Hair, Gray Hair: See also Richard J.
Day, Gramsci Is Dead: Newest Social Movements Toronto: Between the Lines, , chap. The Philosophy of Punk, Ibrahim Abraham rightly argues that this common 41 Ibid.
Punk rock, he says, is necessarily syncretistic, "an inherently 43 DC punk historian and activist Mark Andersen is a great example. Though not hybridized cultural category of minority and marginalized cultural groups," such that a musician himself, Andersen has been involved in DC punk for decades, helping "rendering punk as secular discourse becomes rather problematic" "Punk Pulpit: Syncretism, therefore, is evangelical expressions and Muslim hardcore.
As Clive Marsh argues, "Bible-reading, participation in worship, prayer, But beyond the recognition of the experimental combination of punk social and political action all happen alongside the consumption and and religion, or the view that punk served as a mere context for spiritual use of art, media and popular culture, and the multiple influences of one experimentation, is the ever-more frequent claim that punk rock itself activity on another is not always easy to grasp.
Nevertheless, theologians often functions as religion for its participants. This claim about the reli- will have to show how theological reflection occurs within lives con- giosity of punk culture mirrors wider trends in the analysis of rock cul- structed in this way.
Every person is a complex network of cultural ture and religiosity noted earlier. At nearly every hardcore show, bands play their songs with the I might be an adult, but I'm a minor at heart utmost intensity, singers testify to an issue that is close to their hearts, We're just a minor threat and fans struggle to reach the stage in an effort to be a part of the Minor Threat, "Minor Threat" " experience.
Joanna Davis' research on punk rock ideologies and processes of aging tunes into how punk identity is continually re- Religion, Punk Rock, and Counter [Sub]Cultures," Bulletin of the Council of Societies negotiated and reintegrated into life as punks age. For additional recent discussion of points to nurses and teachers who grew up punk and who have integrated the complexity of the "punk and religion" question, see the unique zine series Con- the commitments of DIY punk into their careers as examples of success- versations with Punx: A Spiritual Dialogue by Bianca Valentino which features interviews ful negotiations of punk and adult identities.
Other scholars in a variety with punk rock musicians on religion and spirituality Michael J. Iafrate, "The Spirit of Punk: Charism and Power: Liberation Theology and the Institutional tember Can You Church, trans. John W. Diercksmeier New York: Crossroad, , Be Saved by Rock 'n' Roll? Fowles, self-published as A Sound Salvation: Claremont, CA: An Invitation 58 Joanna R. Liturgical Press, Music Scene," Symbolic Interaction 29, no. Seth Kahn-Egan, for example, has outlined a "punk peda- The reflections of Kahn-Egan and Dunn have inspired me as a gogy" inspired by punk's DIY ethic as well as its characteristic anger musician-theologian to reflect on what it might mean to "stay punk" as and passion.
There are, of course, a number of recent North American and available from and in writing; where they learn to be critical of them- selves, their cultures, and their government—that is, of institutions European ecclesial movements that embody a lived theology that incor- in general; and, most importantly, where they learn to go beyond porates many of the commitments of DIY punk.
Movements such as the finding out what's wrong with the world and begin making it better. New Monasticism, various expressions of Christian anarchism, and The punk classroom helps them move from being passive consumers newer waves of Catholic Worker communities have all been influenced of ideology to active participants in their cultures. Along the way, by punk rock culture and live out of what might be called an implicit they may have to deconstruct the realities they've brought with "punk theology.
As a punk, I had those theological writing as a mode of cultural agency and social change. And things in spades. But my education, graduate training, and profes- sional career have all been instrumental in stamping those elements out of me and out of my detached scholarly writing. See http: As the Clash taught me many www. My use of the first person expresses my and emotion.
The scholarly discipline of IR doesn't provide me the own wrestling with what it means to "stay punk" as a theologian in my own life. The tools to do that, but punk rock does. Gustavo Gutierrez, A Theology of Liberation: History, Politics and Salvation, rev. Orbis Books, See also 58 Ibid. Dunn, "Never Mind the Bollocks: Maryknoll, NY: Orbis Books, , Communication," Review of International Studies 34 Theology, Music and Social Change London: Routledge, 60 Ibid.
If anything, a punk take on theology must insist that everyone has a theological voice, not only theological experts or magisterial defenders [O]ne thing common to all the meanings [of the word "punk" over of ecclesial traditions, and that the voices of those on the margins, those time] is: It always refers to somebody who is seen by society as worth- often deemed "indecent,"" are voices to which we must attend and less, unimportant or useless.
For me, if you claim that title, then which we must indeed amplify.
This commitment challenges not only you're claiming to be one of those throwaway people, one of the ecdesial leaders who imagine themselves as the only spokespersons for disposable ones, and you're asserting your own value and by impli- their traditions, but also theologians who still tend not to take the voices cation the value of all of those folks.
We're trying to encourage of average people seriously? You mon with Vmcent Miller's concern with theology's task of promoting know, a standing with and for those folks and looking towards a religious agency, the active participation in religious cultures and inter- world or a community or a city where there's a place for everyone action with religious symbols and practices rather than the mere passive and where everyone matters.
And for me, that's revolutionary consumption of them. Theological discourse in many ways re- challenge to Western, academic, professional theology. Ian Svenonius, mains tightly controlled by its own gatekeepers, i. Technology, of course, has opened up new opportunities for nonprofessionals well when he lifts up the makers of "unimportant" publishing, both in print and online, and open-source journals have music: They're thinking about their place knowledge production.
A number of open-source theological journals in history. And that's the problem with all this rock history crap. Where intentionally privilege voices neglected by the theological mainstream, all we hear about is the 'innovators.
Theme Park temporary theology. Fernando F. Segovia Sheffield: Sheffield participatory theology, or people's theology, in which the people take Academic Press, , While there is much to n Marcella M. Althaus-Reid, Indecent Theology: Routledge, Lewis, and S. Community Development and Local Theology Philadelphia: Temple Univer-.
Indeed, some explicitly And yet, this understandable concern for theological quality is itself insist that "not everything that gets published in theology today deserves open to scrutiny. So a fourth point to consider is the challenge presented to be published.
To make an analogy to the music industry, the pos- ness, and de-professionalized edginess, versus autotuned and overly sibility of opening up the processes of musical production beyond the produced corporate rock. To suggest another analogy: Are we willing to let our new musical output, especially today as countless artists take advantage theology be raw, messy, and unpolished? But the ability to release music more easily has not done away with the possibility of thinking I'm not into quality. I'm into trash.
I think trash is appealing. I think critically about music or being concerned with its quality, and discussion the exciting thing about American pop music from the sixties or and criticism of music has gone on as it always has.
The same is true in whatever is the garbage quality of it. Like soul music, gospel music. Discussion and debate about the Not that it sounds like garbage, it's really well done, but it has a relative merits of various theological proposals continue despite the tossed off quality to it. The problem with music is the "importance" introduction of new technologies for disseminating more and more theo- of it.
And when it's impor- tant, it's because of the narcissism of the star. But the Religious Education , no. Smith, "Open Access and "tossed off quality" that Svenonius points to might reorient how we Authors' Rights Management: A Possibility for Theology?
Svenonius, one might say that just as punk rebelled against the godlike Part of Smith's argument includes the statement that open source publishing importance of stadium rock, a punk theology would necessarily reject as offers scholars of the North the ability "to serve the needs of churches and seminaries in the developing world" through easy online access to scholarship.
He does not mere pretension the continuing temptation toward grand system-building acknowledge the potential for scholars from the "developing" world to publish more easily or the gift that theological voices of the global South might be to the churches of the North. A good example of the potential for "marginalized" voices to be heard 76 Lee Connie, "Toward an Epistemology of the Spirit: Michael's College Toronto, Ontario, Pinn, "In the Raw: Christology of Liberation, 2nd digital logical Reflection," in Converging on Culture: Theologians in Dialogue with Cultural ed.
Analysis and Criticism, ed. Ian Svenonius. Or that, in being more humble about theology's internally critical of punk itself, producing the irruption of new "scenes" importance, a punk approach to theology should be significantly more such as DC hardcore and various "irruptions within the irruptions" e. This persistent self-criticism of punk rock a theology expressed, we could say, in the spirit of the seven-inch single finds parallels in the irruption of and dialogues between liberation, black, rather than the epic seventy-minute important album or career-spanning feminist, womanist, critical, political, and postcolonial theologies over box set.
Constant rethinking, renegotiating, and argu- This type of occasional, tossed-off theology is reflected in some ways in ment-making is part of punk communities and is also an important part the emerging practice of theological blogging which is increasingly becom- of postmodern theology. While embrace of this postmodern tendency in theology, even looking to those some "theo-bloggers" write in a way very similar to their more formal, who have rejected the church such as punks who have rejected religion traditionally published output, others are explicitly tailoring their writing as sources of theological insight, as Beaudoin has argued.
Analysis of music, a theology that "stays punk" will resist the commodification of the impact blogging is having in the world of theology, and blogging's theology, theological texts, movements, religious symbols, etc. It seems to to take place under the influence of global consumer capitalism. Such me, however, that there is something of the DIY punk spirit present in commitments find resonance with the views of writers like Michael the theo-blogging phenomenon and that it is bringing some refresh- Budde and Vmcent Miller who analyze the effects of global capitalism ing—if ambiguous— changes to the world of academic theology.
Just as Guy Piccioto of the band Fugazi insists marginalized. The continuousness of the herme- theology. Liberal appropriations of liberation theologies within main- neutical circle of suspicion and the permanent questioning of the ex- stream Catholic theology and the appropriation of the language of lib- planatory narratives of reality implies, precisely, a process of theological eration theology in magisterial teaching without attention to its discontinuity.
The Vocation and the "normal. Sixth, this stance of permanent questioning suggests a commitment 83 Michael L. Budde, The Magic Kingdom of God: Christianity and the Culture Indus- to ongoing internal critique and revision.
Despite its sectarian tendencies, tries Boulder, CO: Westview Press, ; Michael L. Budde and Robert W. Brimlow, Christianity Incorporated: Brazos Press, ; Miller, Consuming Religion. Yielding enables a lesser sense of performativity informed by punk genealogies , along with an institutional relation that is neither resistantly challenging nor fully submissive.
To yield is to weakly perform, without nihilistically giving up. Yielding engages insti- tutions to survive. Similarly, when Larkin Street participants agree to meet with an interviewer, they demonstrate a weaker negotiation with power compared with what has been previously theorized in social practice discourse.
But yielding and the lie redistribute resources. The performative force of the yield operates in a minor way by which needed capital is distributed from funding institutions to those in need.
Institutions and artists Downloaded from https: This mode has other residual effects: As such, Tolentino asks us to ques- tion what it might mean for institutions, not simply individual contract artists, to privilege yielding as a way to operate. Tolentino explores yielding as a method that queries how social practice functions: To be under and to give in to the pressures from the top of an institution produce weaker forms of agency.
If we rely on a strong sense of performativity and agency, then one might dismiss this institutional relation as politically limited. James Scott unpacks the possibility of such a lesser agency. In his ethnography of Malay peasants, Scott questions the dominant ways in which a strong sense of resistance has been established. Yielding produces such weak modes of resistance, as Larkin Street participants act individually a and in opportunistic b ways, asking for compensation for their participation.
Such institutional relations possess no revolutionary consequences c and reveal a con- senting and submissive relation to institutions d. To Flail — the Queer Art of F l ailure Throughout this article, I have drawn from queer theory to inform my insights on social practice. However, lingering in the way failure operates in The Magical Order offers space to track some qualitative differentiations within this productive concept.
Similar to success in social practice discourse, failure in queer studies oftentimes possesses a strong performative impulse with an emphasis on possibility and change. Rather than reproduce a logic within failure that circumvents success in order to contest, cri- tique, and rupture, Tolentino offers flailing. This particular verb arising out of The Magical Order highlights the strong impulse embedded in failure. Those in the precariat often cannot afford to fail, as they are seeking a punk survival.
Flailing is thus meant to capture modes of existence without full purpose. In other words, I frame flailing outside institutional negotiations to examine how individuals gesture and flail to merely exist, instead of failing in order to performatively do more.
Flailing, as an aesthetic quality, functions by blurring across figure and ground, subject and environment, and amateur and professional. The missteps and blur of flailing track a minimally performative sense of failure.
Flailing directs us to what arises before the moment we try to do things with failure. By shifting away from a success and failure model, flailing describes how those in precarity cannot necessarily afford being oppositional or even to fail. Failing in precarity, especially in relation to homelessness, could lead to premature death or a loss of opportu- nities to survive. Failing in precarity can mean the difference between life and death.
However, to flail is to weakly fail in order to exist and momentarily avoid the brush of death. According to Scott, the precariat recognizes its own exploitation and directs its efforts toward the suppression of anger for the benefit of survival ibid.
Flailing is the lesser per- formative for failure. To fail opposes success or involves a purposeful neglect. To Downloaded from https: In The Queer Art of Failure, one of the most influential texts on failure, Jack Halberstam reveals how the strong performative impulse undergirds this con- cept. Halberstam Both of these authors have been influential to my readings of The Magical Order. In thinking alongside failure, I highlight the tendency to focus on one par- ticular quality of failure that privileges more.
Tolentino and the art projects from The Magical Order direct us to an aes- thetics of the flail. The Magical Order engages failure without a sense of Brechtian force. With red and black pastels, Hal- perin sketches the face of a deity on many pieces of paper that are about the size of an average adult hand. The images possess a blurry quality that outlines details without rendering them defined. The broad lines from pastels offer only a fleeting and indefinite glimpse or grasp of the image.
Halperin placed these images throughout San Francisco and displayed them in art spaces during the run Downloaded from https: When I asked him about his goals for his specific drawing project, he told me that he never wanted his work to change a viewer.
He invested in a nonattachment to his objects and released personal gain from them. Rather, the flailing of his images deflates potential. Both the quality of his sketches, which provide the outline of shapes without much definition, and his relation to his own objects disinvest from possibility.
The video cocreated by Tolentino and Kuhne similarly flails. This final video was presented as a gift to the Larkin Street participants and displayed in Alter Space. The overall goal of the video was to find a weak and open way to document the process without producing a narrative documentary. Rather than reveal truths about their time together, Kuhne and Tolentino wanted to capture moments of vulnerability and the minute interactions that shaped their collective work.
Tolentino instructed Kuhne to follow and record Larkin Street participants, but with an emphasis on affective partiality over narrative capture that queered the genre of documentary film.
Thus the video became a collage of interviews, rehearsals, and individual moments in nature and in meditation. Rather than privilege their life stories, the video produces an affective sense of how each person relates to space and to others. In these moments, the flail arises through the aesthetic indistinc- tion between figure and environment, along with amateur and professional.
This qual- ity of flailing directs us to take notice and be present with the performances in the video. We pause and do not rush to try to provide meaning to the performance. Although the camera documents the various training exercises Tolentino offered, Downloaded from https: Rather than track each individual in daily life and time with Tolentino, the video details how each body swung in synco- pated ways within the nature trails and galleries that their process inhabited.
This lighter sense of aesthetic capture with a privileging of incomplete narratives pro- duces a flailing that momentarily allows the participants to exist in space outside determined discourses around their life experiences. This video becomes difficult to describe because of its lack of narrative structure and overt documentation.
These examples flail rather than fail, in that the former involves the dif- ficulty of simply existing without having such existence become embedded with full meaning, challenge, or virtuosity. In addition, the unbecomingness of flailing can be traced in the varying degrees of aesthetics in the larger project. Much of the art that I have described throughout this article would not be considered worthy of attention from an art world — sanc- tioned sense of aesthetics.
However, I attend to these works without an aesthetic judg- ment of success, or even its opposite of recuperative failure, in order to track how these participants engage in not only an aesthetics of the flail but also an ethics of flailing — the unbecoming sense of simply doing that is not pregnant with pur- pose or possibility.
Operating at this level of analysis requires that we allow the components of The Magical Order to exist in multiple registers, rather than try to recuperate them under the banner of productive or more failure. Austinian etiolations require a lack of intent. Failure is often about a purposeful intent to not succeed to fail miserably. However, flailing lacks the intent of doing anything; it is about momentary survival that cannot have the privi- lege of failing.
Flailing sidesteps the implied intent of performativity, producing insincerities, lying, and any other means to permit survival. Although helpful debates have been arising Downloaded from https: Flailing nuances such extremes by making transparent the strong force that dictates the terms of these debates.
The Magical Order methodologically highlights the tendency to default into extremes all or nothing and directs us to the need to examine the lesser gradations within force. Tracking this force not only rethinks our investments in hope or negativity but also refines how we do things with queerness. To punk engages survival that is less about suc- cessful resistance than about existence, offers a different performance genealogy for social practice discourse, and refuses either legibility or avant-garde unrep- resentability.
To yield tempers how one imagines relations to institutions beyond complete submission or antagonism. To flail shifts away from clean distinctions between subject and environment, directing us beyond our attachments to purpose and change.
These verbs produce a lexicon by which to trace the lesser, weaker, and minor contours of performativity, shifting away from a strong sense that arises from a focus on either successful social practice or failing queer aesthetics. In addition, from the visceral reactions from punk to the corporeal gesture of the wild flail, these verbs hail a somatic-based vocabulary by which to think through weakness, etiolations, and the strong performative impulse.
It is only through dance and performance with their attention to the awkwardness and limits of the body that one can contend with the normalizing sense of force underpinning performativity. However, in deflating possibility, we begin to find other genealogies by which to theorize the relation of culture and the political. We tend to invest and render art and culture with possibility rather than explore their etiolations and limits.
I use the word weak to privilege a mode of performativity that is not meant to replace strong possibility and forces.
I also complicate the notion of community art by emphasizing weak modes that have roots in the etymology of participation. The two roots of participation de-emphasize holistic integration and involve sectioning off and partiality less the whole. Participation is never complete. I have slipped between my uses of community engagement and social practice, although the former is often included as a subset of the latter.
I would add to this that progressive art must attend not only to institutions but also to how exactly those communities that social practice is seeking to serve navigate such institutions. Oxford English Dictionary, s. I use the term wild to mark how flailing is not merely countering discourses on failure. Halberstam acknowledges the intersec- tion of all three of their interests in this key term, which followed the development of failure.
Of note, wildness possesses a connotation that might exotify native, indig- enous populations. Although this essay does not unpack this term and critiques of it, I invoke the concept as an aesthetic quality usually associated with flailing.
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