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   <id>tag:www.justseeds.org,2010:/blog//42</id>
   <updated>2010-02-08T14:32:18Z</updated>
   
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<entry>
   <title>All The Instruments Agree</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/all_the_instruments_agree.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4374</id>
   
   <published>2010-02-09T12:38:28Z</published>
   <updated>2010-02-08T14:32:18Z</updated>
   
   <summary>This is an essay written by Eric Triantafillou that is included in Paper Politics: Socially Engaged Printmaking Today. Eric wrote the piece as a provocation to political printmakers, asking all of us to think deeper about what we do, and...</summary>
   <author>
      <name>Josh M.</name>
      <uri>www.justseeds.org</uri>
   </author>
         <category term="Art &amp; Politics" scheme="http://www.sixapart.com/ns/types#category" />
   
   
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      <![CDATA[<p>This is an essay written by Eric Triantafillou that is included in <a href="http://www.justseeds.org/josh_macphee/04paperpol.html"><em>Paper Politics: Socially Engaged Printmaking Today</em></a>. Eric wrote the piece as a provocation to political printmakers, asking all of us to think deeper about what we do, and question whether it is accomplishing the things we think it should or we want it to. I find it challenging and valuable, and want to post it here in hopes of starting a broader discussion. Please give it a read and chime in. I know a number of artists that have read it and have questions and conflicts, so here's the place to raise them!:</p>

<p>All The Instruments Agree<br />
Eric Triantafillou</p>

<p>The façade of a now-defunct police station in San Francisco’s Mission District is plastered with street art. It is a visual cacophony of posters, flyers, stencils, paintings, drawings, and the hand-scrawled responses of passers-by. A remnant of the housing struggles that began in 2000, today this wall is a public commons that transmits information about everything from legal rights workshops to communist party meetings and yoga classes; also occupying its surface are corporate ads cloaked in DIY lino-chic. It is also a screen onto which people project thoughts and feelings about the world they fear and visions of the one they want.</p>

<p><img alt="mission_wall_2000A.jpg" src="http://www.justseeds.org/blog/images/mission_wall_2000A.jpg" width="600" height="394" /><br />
</p>]]>
      <![CDATA[<p>From a distance, all these competing images and ideas side by side create an uneasy harmony, like a Jackson Pollock painting—a kind of abstract social expressionism. Up close, reading the messages, you see a lot of contradiction and tension, evidence of the wall’s messy and contentious evolution. The tactile beauty of the wall is immediate, and yet you realize that this wall is not just a space; it also reveals a history—it is a process in time. But what kind of process? Is the wall a representation of a public and participatory experiment, or its actualization? Is the wall a <em>truly</em> democratic space in a society that only claims to be democratic? Do these disparate images and contradictory ideas illustrate the diversity of our social, cultural, and political perspectives?</p>

<p><img alt="mission_wall_2001.jpg" src="http://www.justseeds.org/blog/images/mission_wall_2001.jpg" width="600" height="401" /></p>

<p>We could view this form of public communication not as constituting a consensus, but as proof that we can have <em>dissensus</em> and yet still coexist. After all, no one has to listen to or agree with anyone’s opinions; they simply need to tolerate them being expressed. Any idea, any image, can simply be covered over by another, ad infinitum. We could celebrate the wall as a bastion of diversity and dissent, a toehold in a society whose public space is increasingly privatized and controlled. But we also have to recognize that the wall can represent a norm for controversy in a society that has not found a way to resolve its conflicts, a society that easily recuperates the meaning of experiments like these and then sells them back to us as aesthetic commodities.</p>

<p>The book you hold in your hands is also a kind of wall. At one time or another, many of the images in this book have appeared in public spaces across the U.S. and other countries. Like layers of time, these images have been peeled off the palimpsest and placed next to each other on the page. These juxtapositions are both powerful and problematic. Like the wall in the Mission, this book represents a diverse cross-section of ideas and practices that together form a loose aggregate that we could call “left political art.” However, viewing all these images next to each other can give the appearance of political unity when there may actually be none.</p>

<p>As printmakers, most of us produce our work with an understanding that we are contributing to and continuing the tradition of politicized printmaking that Deborah Caplow discusses in her essay—a tradition that began with Goya in the early nineteenth century. I often think that we are more preoccupied with continuing this tradition than with asking why the promise it holds out—the promise of universal emancipation—remains so elusive. Our need to be constantly busy, to always be making more, is endemic to the activist compulsion to keep a movement alive, with little sense of what we are moving toward or why. I would go so far as to say that we, the producers of images that are meant to represent social conflict and its antidotes, may actually be complicit in prolonging, as opposed to fulfilling, this broken promise. How could this be?</p>

<p>The graphic art of dissent over the past century and a half is an endlessly twisting, impossibly varied, and fantastically inspired and inspiring maze of imagery. Yet within this multiplicity of signs, symbols, and slogans there are clearly many that are used again and again. The images of past struggles comprise a kind of inventory of left visual tropes that are continuously recycled. New generations of makers adapt the images of previous generations to the social conditions and aesthetic sensibilities of the present. This is in part what it means to operate within a tradition. Images of the past are re-used in order to commemorate them, to create symbolic continuity, to inspire new social movements with the knowledge that they are rooted in the past, to prevent historical amnesia.</p>

<p>Left graphics regularly portray the relationship of social forces as a conflict between two sides: <em>Us</em>­—children crying, clenched fists, crowds amassing, plants growing, doves alighting—versus <em>Them</em>—bombs falling, smoke stacks spewing, barbed wire, prison bars, skeletons. In nineteenth-century France, left political cartoons frequently characterized the bourgeoisie as a parasite that sucks the blood of the workers. Many early anarchists and socialists believed that if the workers—whom they believed produced all the wealth—could rid society of the bourgeoisie, they would finally be free. In the history of left political art, this opposition is played out again and again in expressions like “Capitalists need workers, but workers don’t need capitalists.” It is probable that in a society in which workers controlled production there would be a more equitable distribution of material wealth. But I don’t think it helps to think of capitalism as something that some people <em>do</em> and others <em>don’t</em>. We are all subjects of the same socioeconomic system. The captains of industry and finance are no less dominated by this system, regardless of the fact that they benefit more, than the billions of people with far less. We are all bound to a system characterized by a blind march toward profit, one that must constantly revolutionize or perish.</p>

<p><img alt="TriantafilouE3.jpg" class="left" src="http://www.justseeds.org/blog/images/TriantafilouE3.jpg" width="300" height="412" />In early 2000, during the housing crisis in San Francisco that was caused by the new Internet economy, I produced the image <em>Cleaner, Brighter, Whiter Tablecloths</em>. An ironic jab at the hipsters who were moving into the neighborhood, it refers to the ethnic bleaching of the city’s predominately lower-income Mission District. The image portrays the immediate reality that was visible in the streets, representing gentrification as an opposition between those perpetrating it and those fighting against it. Representing the “gentrifiers” makes it unnecessary to represent those fighting against gentrification; the latter are implied. If as a viewer I don’t identify with what the symbols in the image signify, I am against them; I am one of us. And since we tend to affirm symbols of resistance as authentic expressions of suffering, joy, and indignation, we rarely question the thinking or the politics that are bound up with these symbols. </p>

<p><em>Cleaner, Brighter, Whiter Tablecloths</em> only mirrored the way things appeared on the surface: young, white, urban professionals move into a “Latino” neighborhood, driving up real estate values and disrupting the sense of community. This conception reinforces the idea that capitalist society operates and can be understood through binaries like gentrifiers versus indigenous residents. What gets lost is the understanding of gentrification as a consequence of a socio-historical dynamic that shapes the actions of everyone involved: the venture capitalist who invests; the politician who frames the change as the natural course of economic development; the planning commission that rezones the neighborhood to pave the way; the banker who lends; the property owner who borrows to flip a condo or the first-time home-buyer who takes out a mortgage she can barely afford; the developer who controls the building trades or the independent contractor who hires cheap immigrant labor; and the community coalition attempting to get a temporary moratorium on the construction of market-rate housing so a few lower-income families can stay in their homes a little longer. The image of colonizing yuppies in search of authentic cultural interaction flattens this complex set of actors and interests into an easy-to-digest call to action. The more complex challenge of addressing gentrification and anti-gentrification struggles as systemic, as part of a process in which capital moves in and out of the built environment—the spatial component of capitalism’s necessity to continuously accumulate and expand—is something these symbols cannot communicate, and, in fact, obfuscate.</p>

<p>What is driving capitalism’s imperative to continuously accumulate value and increase that value? Is it old-fashioned human greed or something else? Why does gentrification specifically, and capitalism more generally, appear as a struggle between two opposing sides? Exploitation and social conflict are real and ever-present. But the socio-historical dynamic that structures all relationships, a dynamic that has become increasingly abstract over time, is concealed when it is understood through simple oppositions. This dynamic is rooted in the contingency and symbiosis of all social forces, classes, and interests. To reduce it to a conflict between good and evil does not help explain how this dynamic mediates social life, its origins, or how it has changed over time.</p>

<p>If we continue to express our politics as either choosing to do good or choosing to do bad, we will continue to think of the problem as one of <em>being</em>, as something <em>in</em> us, and not as a relationship <em>between</em> us. Good decisions by good people do not alter this dynamic in any fundamental way. Our focus on the ethical or unethical character of capitalist development, expressed in symbols of altruism versus greed, implies a politics of technocracy (an increase in social services here, a tighter regulation there), but also has the effect of closing off possibilities for more radical politics. Reform that ameliorates immediate material conditions strengthens the dominant thinking that our socioeconomic system is fundamentally sound, that it just needs some tinkering around the edges.</p>

<p>What if our images could do more? What if they had the potential to be radical, to go to the root, to try to represent the relationship that is hidden behind the binary idioms of our tradition? What if we were able to know what determines, and to clearly express, that which is truly wrong with capitalist society? As negative as our thinking and our images might become, they would point toward what is right and better.</p>

<p>At the same time artists are working through problems of representation, we must also think about how we produce images. What are the contexts in which our images are made? Who are the images for? Are they just preaching to the converted? If <em>Cleaner, Brighter, Whiter Tablecloths</em> was problematic as an image, the context in which it was made—as part of a larger effort to mount a visual response to what was happening in San Francisco’s Mission District—had far more potential. In 2000, some fellow printmakers and I began making posters about displacement and evictions. One of the places where we put them was on the old police station wall. Our group, the San Francisco Print Collective, became the propaganda wing of a neighborhood coalition that had come together to fight gentrification. SFPC members were united by the idea that art is an incredibly powerful tool when rooted in a social movement. We didn’t always agree with the political positions or tactics the coalition adopted, but we shared a common goal. The SFPC’s images and messages were composed by multiple voices within our collective, but when they hit the streets they spoke with one voice. Our work’s constant visual presence in public space helped communicate to others what was happening in the neighborhood. It also inspired and motivated people in the movement, inextricably linking our effectiveness and longevity to the wider community’s struggle.</p>

<p>Artists of the past organized large-scale unions and popular fronts in response to the social conditions of their time. Although these forms of organizing shouldn’t be ruled out, they haven’t materialized in the present. Many artists already work in small collectives, organizing themselves around shared affinities, social values, mutual support, and resource sharing. This doesn’t mean that as artists we automatically share a common political vision because of our backgrounds, a certain temperament, the media with which we work, or our relationship to other social actors and institutions. But what if we did? What if, instead of letting this book or the Mission District wall represent our differences—our pluralism—we began to work towards articulating a shared commonality?</p>

<p>I advocate that we, left printmakers, develop a set of shared goals, and use our powerful ability to intervene in public space, to create new ways of thinking and new meanings that refuse the dominant ones, and to develop tactics that can help us achieve those goals. The voices in this book and on that wall give the appearance of unity, of a unified opposition to capitalist society. But on closer examination, you can see fissures, fractures, and contradictions. If we began to organize ourselves, to create spaces for collective reflection and political education, I think we would find that ideologically we are very atomized, and that many of us would rather remain this way because the concept of unity (and all the past failed attempts at it) means a loss of individual freedom. </p>

<p>The collective articulation of a set of goals (which in and of itself would be an incredible undertaking) would necessitate an in-depth analysis of all the practices we’re engaged in. It would mean that we would have to confront the fact that some ways of thinking and some practices are probably better than others, as instruments for achieving our goals. This doesn’t mean it is wrong to make images that advocate that we “Support the troops, send the politicians to war” or “Knit for the revolution.” But it does mean that if these are the kinds of stories we tell ourselves and we attempt to fashion a politics out of them, we may not be getting any closer to our goals. In their broadest sense, these goals would have to involve creating the social conditions in which someone’s desire to make whatever she wants, to think and act as she sees fit—without being dominated by time, space or someone else—will have been gained for all.</p>

<p>The wall insists on an encounter. It wants to be used. But it is a space that gestures toward something beyond itself. It is not an end. It is a process of <em>becoming</em>. At the same time we create spaces of dialogue and public commons, at the same time we continue our tradition as the archaeologists of dreams and the farmers of inspiration, we can realize the force of unity that lies dormant in our fractured and individualistic practices. Let’s investigate our own thinking. Let’s look at our practices. Let’s collectively reflect on the images we make, and how and for whom we make them. Let’s ask if they could do more—if they could reveal the abstract barbarity of our social reality, and still incite and inspire us. As long as our goals are based on an intransigent desire for total social freedom, we have nothing to fear.</p>

<p><em><br />
Eric Triantafillou lives in Chicago where he teaches and writes. He cofounded the San Francisco Print Collective and Mindbomb, a collaborative political activist art group in Romania.</em></p>

<p>If you are interested in the book this essay came from, which includes two other full length essays, 200 color reproductions of political prints, and a dozen short pieces of writing by printmakers, please check it out <a href="http://www.justseeds.org/josh_macphee/04paperpol.html">HERE</a>.</p>]]>
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<entry>
   <title>Slideshow/Discussion this Wednesday @ AS220 in Providence</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/slideshowdiscussion_this_wedne.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4388</id>
   
   <published>2010-02-06T12:00:00Z</published>
   <updated>2010-02-06T13:55:38Z</updated>
   
   <summary> If you&apos;re in Providence, Rhode Island this week, please come by AS220 on Wednesday the 10th and participate in the discussion and slideshow I&apos;m putting on! It&apos;s free to the public and starts at 6pm at the AS220 performance...</summary>
   <author>
      <name>Shaun Silfer</name>
      
   </author>
         <category term="Events" scheme="http://www.sixapart.com/ns/types#category" />
         <category term="How-To" scheme="http://www.sixapart.com/ns/types#category" />
         <category term="Justseeds &amp; Member Projects" scheme="http://www.sixapart.com/ns/types#category" />
         <category term="People&apos;s History!" scheme="http://www.sixapart.com/ns/types#category" />
   
   
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      <![CDATA[<p><img alt="bumper_sticker.jpg" src="http://www.justseeds.org/blog/bumper_sticker.jpg" width="595" height="318" /></p>

<p>If you're in Providence, Rhode Island this week, please come by <a href="http://as220.org/front/">AS220</a> on Wednesday the 10th and participate in the discussion and slideshow I'm putting on! It's free to the public and starts at 6pm at the AS220 performance space on Empire Street:<br />
<em><br />
<strong>"I Brake For Historical Markers"</strong></em><br />
6-8:30pm, Wednesday, February 10<br />
<em>Pittsburgh-based artist <a href="http://sslifer.net/">Shaun Slifer</a> will present a slideshow and discussion of problematic and progressive historical monuments and plaques with an eye towards remembering the often-buried stories of struggles for social justice. Slifer will discuss the <a href="http://howlingmobsociety.org/">Howling Mob Society's</a> 2007 guerilla historical marker series commemorating the Great Railroad Strike of 1877.</em></p>]]>
      
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</entry>
<entry>
   <title>ADM Tries to Take Down Funny Video; Big Business Has No Solutions; Now What?</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/adm_tries_to_take_down_funny_v.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4394</id>
   
   <published>2010-02-06T05:02:11Z</published>
   <updated>2010-02-06T05:46:21Z</updated>
   
   <summary>Davos Annual Meeting 2010 - ADM CEO Patricia Woertz from World Economic Forum on Vimeo. A legal complaint from agribusiness giant ADM has resulted in the removal from Youtube of a fake video of ADM&apos;s CEO making over-honest pronouncements.(The video...</summary>
   <author>
      <name>K C</name>
      <uri>www.justseeds.org</uri>
   </author>
         <category term="Culture Jamming / Ads &amp;#038; Adbusting" scheme="http://www.sixapart.com/ns/types#category" />
         <category term="Environment" scheme="http://www.sixapart.com/ns/types#category" />
         <category term="Film &amp; Video" scheme="http://www.sixapart.com/ns/types#category" />
   
   
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      <![CDATA[<p><object width="400" height="300"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=9011666&amp;server=vimeo.com&amp;show_title=1&amp;show_byline=1&amp;show_portrait=0&amp;color=&amp;fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=9011666&amp;server=vimeo.com&amp;show_title=1&amp;show_byline=1&amp;show_portrait=0&amp;color=&amp;fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="300"></embed></object><p><a href="http://vimeo.com/9011666">Davos Annual Meeting 2010 - ADM CEO Patricia Woertz</a> from <a href="http://vimeo.com/user3033597">World Economic Forum</a> on <a href="http://vimeo.com">Vimeo</a>.</p></p>

<p>A legal complaint from agribusiness giant <a href="http://en.wikipedia.org/wiki/Archer_Daniels_Midland#Criticism">ADM</a> has resulted in the removal from <a href="http://www.youtube.com/index?ytsession=6RU-Y9-EZFfu-eD9rt8PAEdDFX3xWSkb00F_lagw2CJDZ9sxfTBuoFe2mp4fY94Mfh7ngTVmBiV8POK4-bXpiEq5GPMpFLrxSJ-sXNw7joIJ1bw7neFh5edeKDUcf5FRDawEE0--0nhRzNJAAIaPWWt4n77ZsrwEadrhr_XmKxmsoB3_qaUVXA_1s_TlmIiLbgsdB4bc5-fMQUkc2uRg9JCXVqyjsEDVxftIH-HF2vCdZ5lo2vktOqGmKdmplIM89Kkx3gBfBnfiuTeji9enbfmO4Chscsew2KdcQseIprRyyyClaQ7XfQ">Youtube</a> of a fake video of ADM's CEO making over-honest pronouncements.(The video is still available <a href="http://www.dailymotion.com/video/xbz89k_davos-annual-meeting-2010-adm-ceo-p_news">here</a>, <a href="http://vimeo.com/9011666">here</a>, and, for download and reposting, <a href="http://www.we-forum.org/en/events/AnnualMeeting2010/vids/woertz.mov">here</a>.)</p>

<p>Last week, the filmmaking team behind <a href="http://www.theendofpoverty.com/">The End of Poverty?</a> partnered with the Yes Men to create a <a href="http://www.we-forum.org/">parallel, imaginary World Economic Forum</a> in which world leaders came up with real solutions to poverty. The leaders seemed, in a series of videos, to be supporting a set of <a href="http://www.we-forum.org/en/initiatives/index.shtml">initiatives</a> based on <a href="http://www.theendofpoverty.com/sign_petition.html">10 Solutions to End Poverty</a>, a petition for which the filmmakers are trying to get ten million signatures by the end of 2010.</p>]]>
      <![CDATA[<p><br />
Each of those <a href="http://www.we-forum.org/en/initiatives/index.shtml">initiatives pages</a> has links to organizations that are fighting hard for change on these issues.</p>

<p>In contrast, the actual World Economic Forum ended Sunday with a profound <a href="http://news.bbc.co.uk/2/hi/business/davos/7863684.stm">lack of results</a>, some seemingly satirical but all-too-real headlines (like Goldman Sachs's Lloyd Blankfein's <a href="http://www.nbcnewyork.com/news/local-beat/Goldman-CEO-Stands-to-Collect-100M-Bonus-Report-83272232.html">rumoured $100 million bonus</a>), and one fruitless complaint to <a href="http://www.youtube.com/watch?v=AW2JWJPMDHc">Youtube</a>.</p>

<p>"If we can bail out bankers to the tune of trillions of dollars, surely we can solve poverty, which will just take a few structural changes, plus a whole lot less money," said Beth Portello, the producer of The End of Poverty?</p>

<p>"All the crises we're facing are rooted in massive inequality and poverty," says Philippe Diaz, the film's director. "If these leaders really wanted to make a difference, they would work towards ending poverty, however uncomfortable that might be for business."</p>

<p>"It's easier to remove funny videos from Youtube," added Portello. </p>]]>
   </content>
</entry>
<entry>
   <title>Think Outside the Bomb (Call for Entries)</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/think_outside_the_bomb_call_fo.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4393</id>
   
   <published>2010-02-05T17:55:04Z</published>
   <updated>2010-02-06T05:58:17Z</updated>
   
   <summary>Call for Submissions for Zine Think Outside The Bomb, a national anti-nuclear youth network, wants to hear from you and your community about the anti-oppression struggles you are engaged in, whether they be against nuclearism, militarism &amp; war, patriarchy, racism,...</summary>
   <author>
      <name>Meredith Stern</name>
      
   </author>
         <category term="Calls for Art" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p><strong>Call for Submissions for Zine</strong></p>

<p>Think Outside The Bomb, a national anti-nuclear youth network, wants to hear from you and your community about the anti-oppression struggles you are engaged in, whether they be against nuclearism, militarism & war, patriarchy, racism, capitalism, etc. This summer we are going on a three-month, 40-city tour of the USA, where we will distribute a tour zine. This zine will feature submitted poetry, essays, photos, action and campaign information, and a tour CD containing spoken word, spoken essays, and music.</p>

<p><strong>How to Submit:</strong><br />
Please send submissions of essays, poems, short stories, information on upcoming and ongoing campaigns and actions, and other written work in digital format by the deadline to: thinkoutsidethebombtour@gmail.com. Songs, spoken pieces, photos, drawings and other digital media can also be sent to the email address. Hard copies of art works to be digitized can be sent to the mailing address listed below.</p>

<blockquote><strong>SUBMISSION DEADLINE:</strong> 
Please submit no later than March 15, 2010
Email: thinkoutsidethebombtour@gmail.com
Mail: TOTB Tour Zine, 1925 Five Points Road SW
Albuquerque, NM 87105</blockquote>]]>
      <![CDATA[<p>ABOUT THE THINK OUTSIDE THE BOMB NETWORK:<br />
<a href="http://thinkoutsidethebomb.org">Think Outside the Bomb</a> (TOTB) is a national network of youth organizers and activists working for nuclear abolition. We are currently working to build resistance to the United States nuclear weapons arsenal, the nuclear industrial complex, and the nuclear power sector. We wish to work with groups anywhere and of any kind that are working for social and environmental justice: the peace movement, labor struggles, anti-globalization, anti-oppression (including feminist groups, LGBTQI groups, people of color, indigenous communities, etc), environmentalist groups, anti-authoritarian and anti-hierarchical groups, and so forth. We see our work as intersecting with all stripes of activists, and put much value on forming a multi-generational struggle through which we can share knowledge, experience, and energy.</p>

<p>http://totbtour.wordpress.com </p>]]>
   </content>
</entry>
<entry>
   <title>A week of solidarity prints</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/a_week_of_solidarity_prints.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4392</id>
   
   <published>2010-02-05T04:57:06Z</published>
   <updated>2010-02-05T05:27:10Z</updated>
   
   <summary> This week was super busy, I printed three editions and still had time to run around getting supplies and table at an event to sell some prints. The week started with printing Melanie&apos;s Iran solidarity poster, this is one...</summary>
   <author>
      <name>Jesus</name>
      
   </author>
         <category term="Art &amp; Politics" scheme="http://www.sixapart.com/ns/types#category" />
   
   
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      <![CDATA[<p><img alt="15c9ad5185165b357f51e05863f821.jpg" src="http://www.justseeds.org/blog/15c9ad5185165b357f51e05863f821.jpg" width="460" height="345" /></p>

<p>This week was super busy, I printed three editions and still had time to run around getting supplies and table at an event to sell some prints. <br /><br />The week started with printing Melanie's Iran solidarity poster, this is one of two pieces in which we both used the same source photo in creating our image. I really like Melanie's poster, it is a very well designed two color print, it has the text in Spanish, English and Farsi using the trilingual approach made popular by OSPAAAL (Organization of Solidarity of the People of Asia, Africa &amp; Latin America).</p>]]>
      <![CDATA[<p><img src="http://www.justseeds.org/blog/2485841c72365aba1edef7b1f35fba.jpg" alt="" width="227" height="170" /> <img src="http://www.justseeds.org/blog/edbf7504d8bcaa7532a377ccbed4f3.jpg" alt="" width="227" height="170" />&nbsp;&nbsp;</p><p>Next was the Haiti solidarity poster which is a collaboration with EastSide Arts Alliance who designed the poster. This was printed to be used as a fundraiser with all the money raised going to the Haiti Emergency Relief Fund. So far this has been selling pretty quickly, <a href="http://dignidadrebelde.com/story/view/45" target="_blank" title="Buy a print!" class="link">you can get yours here</a>. Also thanks to Inkworks who I&nbsp; can always count on when i need to get some paper cut.</p><p><img src="http://www.justseeds.org/blog/a9eaccfa9b58589ba952f9c6173365.jpg" alt="" width="228" height="171" /> <img src="http://www.justseeds.org/blog/51639a53bcb05cae6844887cae0fc4.jpg" alt="" width="227" height="171" /></p><p>&nbsp;</p><p><img src="http://www.justseeds.org/blog/55504e66bc3229ac5d6879fc4ccbe3.jpg" alt="" width="228" height="171" /> <img src="http://www.justseeds.org/blog/95d9e8fd3df64b2d2d336642cfdbfa.jpg" alt="" width="225" height="170" /></p><p>In the middle of the week I had some time to clean the studio and get things organized, it had been a while since I swept and put things away but now I am ready to print some more. </p><p><img src="http://www.justseeds.org/blog/2cdd84de3ef6073612e7b8c96aefc4.jpg" alt="" width="140" /><br />Thursday I made a trip over to the Firehouse in west Oakland to cut some more paper, one of the guys was there printing a poster for AFI show later that night. Poster by Frank Zio.<br /><br />I also exposed some screens for the next day of printing.</p><p><img src="http://www.justseeds.org/blog/51b1c03209eb0c8d5c050aacdec865.jpg" alt="" width="140" /><br /><br />Later that night Melanie called me down to the Pearl in San Francisco where they were having a 75% off everything sale. We stocked up on plenty of paper all sizes and colors. This was great since we are working on so many prints I'm sure this paper will go fast.</p><p><img src="http://www.justseeds.org/blog/d4732ee384591a45b5c3b6f69fdbcf.jpg" alt="" width="140" /> <img src="http://www.justseeds.org/blog/bdcaacce2b7c2f1f980d1271a8dd03.jpg" alt="" width="251" height="188" /><br /><br />Last thing for the week was my version of the Iran solidarity image. I printed a large format three color print of the same image Melanie used on her poster. I had a lot of fun printing this piece, using the one arm press made this a snap to print. I really like this print, using the grey paper and the nice earth tones, this has to be one of my favorite pieces I have created.</p><p><img src="http://www.justseeds.org/blog/2b5445ce9c2660109d0881ea7a3290.jpg" alt="" width="230" height="172" /> <img src="http://www.justseeds.org/blog/49ecd7b045756aa7e5c6a0584ccd57.jpg" alt="" width="229" height="171" /></p><p><img src="http://www.justseeds.org/blog/c30fcde677f47988c7378114f36a4c.jpg" alt="" width="230" height="172" /> <img src="http://www.justseeds.org/blog/98a66118622ddef0aa82b948e81023.jpg" alt="" width="229" height="171" /> </p><p><img src="http://www.justseeds.org/blog/8f274d399dae02e8fc9797c97fefda.jpg" alt="" width="230" height="172" /> <img src="http://www.justseeds.org/blog/91d56f76ae5f299a0e10170f08b64b.jpg" alt="" width="229" height="171" /></p><p> <img src="http://www.justseeds.org/blog/52017672175d546aa70bffb514c184.jpg" alt="" width="229" height="171" /> <img src="http://www.justseeds.org/blog/780b718803bc1a0d916d1f7e8ce004.jpg" alt="" width="229" height="171" /></p><p>&nbsp;</p><p>With the week over we are planning some new pieces coming up and some more collaborations.</p><br />
]]>
   </content>
</entry>
<entry>
   <title>collage of the week (17)</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/collage_of_the_week_17.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4119</id>
   
   <published>2010-02-04T13:00:00Z</published>
   <updated>2010-02-04T14:20:20Z</updated>
   
   <summary></summary>
   <author>
      <name>Nicolas Lampert</name>
      
   </author>
         <category term="Justseeds &amp; Member Projects" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p><img alt="NLJS11.jpg" src="http://www.justseeds.org/blog/images/NLJS11.jpg" width="450" height="383" /></p>]]>
      
   </content>
</entry>
<entry>
   <title>new show by Pete Yahnke</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/new_show_by_pete_yahnke.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4391</id>
   
   <published>2010-02-04T04:48:03Z</published>
   <updated>2010-02-04T05:14:19Z</updated>
   
   <summary>I just hung a show up at Stumptown Coffee on S.E. Division St here in Portland. If you are in town stop by, take a look, and grab a cup of the best coffee in town. There&apos;s a wide range...</summary>
   <author>
      <name>Pete Yahnke</name>
      
   </author>
         <category term="Art &amp; Politics" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p>I just hung a show up at <a href="http://www.stumptowncoffee.com/locations/division">Stumptown Coffee on S.E. Division St</a> here in Portland.  If you are in town stop by, take a look, and grab a cup of the best coffee in town.  There's a wide range of prints in it: everything from a 3" x 4" lino cut to a 3 foot by 5 foot lino cut. The show will be up all of February.  </p>

<p> Here's some pictures:</p>

<p><img alt="show1.jpg" src="http://www.justseeds.org/blog/images/show1.jpg" width="600" height="373" /><br />
</p>]]>
      <![CDATA[<p><img alt="show2.jpg" src="http://www.justseeds.org/blog/images/show2.jpg" width="600" height="492" /></p>

<p><img alt="show.jpg" src="http://www.justseeds.org/blog/images/show.jpg" width="600" height="322" /></p>

<p><img alt="show3.jpg" src="http://www.justseeds.org/blog/images/show3.jpg" width="600" height="285" /></p>

<p><img alt="show5.jpg" src="http://www.justseeds.org/blog/images/show5.jpg" width="600" height="357" /></p>

<p><img alt="show6.jpg" src="http://www.justseeds.org/blog/images/show6.jpg" width="600" height="328" /></p>

<p><img alt="show7.jpg" src="http://www.justseeds.org/blog/images/show7.jpg" width="600" height="232" /><br />
</p>]]>
   </content>
</entry>
<entry>
   <title>Another Justseeds Member at AS220 in Providence...</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/another_justseeds_member_at_as.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4390</id>
   
   <published>2010-02-03T17:53:21Z</published>
   <updated>2010-02-03T17:59:44Z</updated>
   
   <summary> From now until February 14th, I&apos;m more than happy to be the Artist in Residence at Providence&apos;s multifaceted AS220. I&apos;ll be working exclusively in their letterpress print shop, taking a slight departure from my usual practice and focusing on...</summary>
   <author>
      <name>Shaun Silfer</name>
      
   </author>
         <category term="Justseeds &amp; Member Projects" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p><a href="http://www.justseeds.org/blog/vandercook.jpg"><img alt="vandercook.jpg" src="http://www.justseeds.org/blog/vandercook-thumb.jpg" width="600" height="381" /></a></p>

<p>From now until February 14th, I'm more than happy to be the Artist in Residence at Providence's multifaceted <a href="http://as220.org/front/">AS220</a>. I'll be working exclusively in their letterpress <a href="http://www.as220.org/printshop/">print shop</a>, taking a slight departure from my usual practice and focusing on getting some small prints out of my head and onto paper with the help of their <a href="http://vandercookpress.info/years35-53.html#4">Vandercook No.4</a> press. I hauled three bags, overladen with reams of new paper, through Amtrak trains and stations all day Monday with the generous help of Providence writer <a href="http://walkerthepedestrian.blogspot.com/">Walker Mettling</a>, himself returning from a month-long residency at Pittsburgh's <a href="http://cyberpunkapocalypse.blogspot.com/">Cyberpunk Apocalypse</a>. Besides printing and more printing, I'll be doing a presentation on Wednesday the 10th, at 6pm in the AS220 performance space. "I Brake for Historical Markers" will be a slideshow and discussion of progressive and alternative historical markers and plaques.</p>

<p><a href="http://www.justseeds.org/artists/bec_young/">Bec Young</a> will take over the residency for the second half of February when I return to Pittsburgh. Special thanks to Justseeds cohort <a href="http://www.justseeds.org/artists/meredith_stern/">Meredith Stern</a> for making this happen for both of us! Look for some new work from Bec and I on this site soon...</p>]]>
      
   </content>
</entry>
<entry>
   <title>Drawing All the Time : Week 19</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/drawing_all_the_time_week_19_1.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4389</id>
   
   <published>2010-02-03T13:00:13Z</published>
   <updated>2010-02-03T13:34:05Z</updated>
   
   <summary>This drawing is called Lean To. I made it while setting up the show Sailing the Barbarous Coast in Boston. I was thinking about symbols of power as theatre, a stage set,...and making a simple useful structure from a fallen...</summary>
   <author>
      <name>Colin Matthes</name>
      
   </author>
         <category term="Inspiration" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p>This drawing is called Lean To.  I made it while setting up the show Sailing the Barbarous Coast in Boston.  <br />
<img alt="02-03-10A.jpg" src="http://www.justseeds.org/blog/02-03-10A.jpg" width="600" height="283" /><br />
I was thinking about symbols of power as theatre, a stage set,...and making a simple useful structure from a fallen part of this stage set.  The drawing is on luan scavenged from the basement and spans across the pulpit of an old church.  It measures over 25 ft long by roughly 10ft high.</p>]]>
      <![CDATA[<p><img alt="02-03-10B.jpg" src="http://www.justseeds.org/blog/02-03-10B.jpg" width="600" height="400" /></p>

<p><img alt="02-03-10C.jpg" src="http://www.justseeds.org/blog/02-03-10C.jpg" width="600" height="459" /><br />
This last photo is of the drawing as seen from behind (the useful part of the lean to). </p>]]>
   </content>
</entry>
<entry>
   <title>Medium Resistance </title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/medium_resistance.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4387</id>
   
   <published>2010-02-02T21:14:25Z</published>
   <updated>2010-02-03T01:39:27Z</updated>
   
   <summary> Cut and Paint is included in Medium Resistance: Revolutionary Tendencies in Print and Craft - a group show that is part of Philagrafika. Check out the website here and the show at the Ice Box in Philadelphia. Opens March...</summary>
   <author>
      <name>Nicolas Lampert</name>
      
   </author>
         <category term="Art exhibits/shows" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p><a href="http://www.justseeds.org/blog/images/cutandpaintcover2.jpg"><img alt="cutandpaintcover2.jpg" class="left" src="http://www.justseeds.org/blog/images/cutandpaintcover2-thumb.jpg" width="300" height="361" /></a><br />
<a href="http://www.cutandpaint.org">Cut and Paint</a> is included in <a href="http://www.mediumresistance.com">Medium Resistance: Revolutionary Tendencies in Print and Craft</a> - a group show that is part of <a href="http://www.philagrafika.org">Philagrafika</a>.</p>

<p>Check out the website <a href="http://www.mediumresistance.com">here</a> and the show at the Ice Box in Philadelphia. </p>

<p>Opens March 3rd - runs to April 1</p>]]>
      
   </content>
</entry>
<entry>
   <title>Signs of Change in Portland, OR!</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/signs_of_change_in_portland_or.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4386</id>
   
   <published>2010-02-02T20:10:37Z</published>
   <updated>2010-02-02T20:39:45Z</updated>
   
   <summary> Dara and I just finished installing our exhibition Signs of Change in Portland, OR at the Pacific Northwest College of Art (PNCA). We&apos;re doing an artist&apos;s talk/walk through tomorrow, Wed. Feb 3th, at 12:30 (see HERE), and the opening...</summary>
   <author>
      <name>Josh M.</name>
      <uri>www.justseeds.org</uri>
   </author>
         <category term="Art &amp; Politics" scheme="http://www.sixapart.com/ns/types#category" />
         <category term="Events" scheme="http://www.sixapart.com/ns/types#category" />
         <category term="Justseeds &amp; Member Projects" scheme="http://www.sixapart.com/ns/types#category" />
         <category term="Posters &amp; Prints" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p><a href="http://www.justseeds.org/blog/images/SoC_PDX01.jpg"><img alt="SoC_PDX01.jpg" src="http://www.justseeds.org/blog/images/SoC_PDX01-thumb.jpg" width="600" height="450" /></a></p>

<p>Dara and I just finished installing our exhibition Signs of Change in Portland, OR at the Pacific Northwest College of Art (PNCA). We're doing an artist's talk/walk through tomorrow, Wed. Feb 3th, at 12:30 (see <a href="http://www.pnca.edu/exposure/calendar.php?event_id=1502&list_type=02&cat=5&year=2010">HERE</a>), and the opening is Thursday, Feb 4th, from 6-9pm (see <a href="http://www.pnca.edu/exposure/calendar.php?list_type=02&year=2010&cat=3">HERE</a>). If you are in the Pacific Northwest, please come check it out!</p>]]>
      <![CDATA[<p><a href="http://www.justseeds.org/blog/images/SoC_PDX02.jpg"><img alt="SoC_PDX02.jpg" src="http://www.justseeds.org/blog/images/SoC_PDX02-thumb.jpg" width="600" height="450" /></a></p>

<p><a href="http://www.justseeds.org/blog/images/SoC_PDX03.jpg"><img alt="SoC_PDX03.jpg" src="http://www.justseeds.org/blog/images/SoC_PDX03-thumb.jpg" width="600" height="799" /></a></p>

<p><a href="http://www.justseeds.org/blog/images/SoC_PDX04.jpg"><img alt="SoC_PDX04.jpg" src="http://www.justseeds.org/blog/images/SoC_PDX04-thumb.jpg" width="600" height="450" /></a></p>

<p><a href="http://www.justseeds.org/blog/images/SoC_PDX05.jpg"><img alt="SoC_PDX05.jpg" src="http://www.justseeds.org/blog/images/SoC_PDX05-thumb.jpg" width="600" height="450" /></a></p>

<p><a href="http://www.justseeds.org/blog/images/SoC_PDX06.jpg"><img alt="SoC_PDX06.jpg" src="http://www.justseeds.org/blog/images/SoC_PDX06-thumb.jpg" width="600" height="799" /></a></p>

<p><a href="http://www.justseeds.org/blog/images/SoC_PDX07.jpg"><img alt="SoC_PDX07.jpg" src="http://www.justseeds.org/blog/images/SoC_PDX07-thumb.jpg" width="600" height="450" /></a><br />
</p>]]>
   </content>
</entry>
<entry>
   <title>A couple quick notes</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/a_couple_quick_notes.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4385</id>
   
   <published>2010-02-02T19:56:22Z</published>
   <updated>2010-02-02T20:05:40Z</updated>
   
   <summary>I&apos;m working hard installing Signs of Change in Portland, OR this week (we open on Thursday night!) and wanted to throw a couple quicks items I&apos;ve run into up here on the blog: 1) Anarchist Author Gabriel Kuhn turned away...</summary>
   <author>
      <name>Josh M.</name>
      <uri>www.justseeds.org</uri>
   </author>
         <category term="In the News" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p>I'm working hard installing Signs of Change in Portland, OR this week (we open on Thursday night!) and wanted to throw a couple quicks items I've run into up here on the blog:</p>

<p>1) Anarchist Author Gabriel Kuhn turned away at US border!  Gabriel is great, I've tabled next to him at multiple international Anarchist bookfairs, and am pissed I wont get to see him on his now-cancelled US tour book tour (he has 3 books out or coming out on PM Press—and I thought I was prolific!). Check out more info <a href="http://www.pmpress.org/content/article.php/20100129101337126">HERE</a>, and get pissed off.</p>

<p>2) Part Two of Erick Lyle's great story about Art Basel Miami is up on the Bay Guardian website. Read it <a href="http://www.sfbg.com/printable_entry.php?entry_id=9707">HERE </a>or you'll be very sad later when everybody is talking about it!</p>

<p>3) I found a nice little write up and set of photos on Swoon on the Indonesian website Cream, check it out <a href="http://creamcreativemagazine.blogspot.com/2010/02/swoon.html">HERE</a>.</p>

<p>4) PM Press has just released on CD the amazing discography of the Dutch political punk band the Rondos. The set has 2 cds and 4 books, and is well, well worth getting. The Rondos were engaged politically on a level few bands ever truly are, and have written a fascinating history of 1980s Rotterdam, Dutch communism and anarchism, and the larger punk and squatting subculture. Check it out <a href="https://secure.pmpress.org/index.php?l=product_detail&p=257">HERE</a>.</p>]]>
      
   </content>
</entry>
<entry>
   <title>Rad Teen Print of the Week: POWER UP!</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/rad_teen_print_of_the_week_pow.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4383</id>
   
   <published>2010-02-02T12:55:18Z</published>
   <updated>2010-02-02T13:30:21Z</updated>
   
   <summary> front back This week&apos;s rad teen print is a t-shirt design, collectively conceived, drawn and printed by the girls of Power Up, a new after-school youth program I am teaching at the Warhol Museum. Heather White and I wanted...</summary>
   <author>
      <name>Mary Tremonte</name>
      
   </author>
         <category term="Inspiration" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p><img alt="power%20up%20t-shirt%20front.JPG" src="http://www.justseeds.org/blog/images/power%20up%20t-shirt%20front.JPG" width="600" height="450" /><br />
<em>front</em></p>

<p><img alt="power%20up%20t-shirt%20back.JPG" src="http://www.justseeds.org/blog/images/power%20up%20t-shirt%20back.JPG" width="600" height="450" /><br />
<em>back</em></p>

<p>This week's rad teen print is a t-shirt design, collectively conceived, drawn and printed by the girls of Power Up, a new after-school youth program I am teaching at the Warhol Museum. </p>

<p>Heather White and I wanted to synthesize some of the best bits of past programs we have done: silkscreen printing (of course!), activism and advocacy, self-actualization, health, feminism, and of course relevancy and FUN.</p>

<p>We are working with a group of seven African American teenage women to teach graphic design and silkscreen printing through health topics. We are working with many organizations and individuals as guest speakers and clients, including the <a href="http://www.eastendfoodcoop.com/">East End Food Co-op</a>, <a href="http://www.ppwp.org/">Planned Parenthood</a>, Youth Empowerment Project, <a href="http://www.idealist.org/if/i/en/av/Org/172308-99">The Birth Circle</a>, and more. </p>

<p>Power Up!</p>]]>
      
   </content>
</entry>
<entry>
   <title>Haiti Will Rise Again</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/haiti_will_rise_again.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4384</id>
   
   <published>2010-02-02T03:38:35Z</published>
   <updated>2010-02-02T08:32:35Z</updated>
   
   <summary> We are very happy to announce the release of the first print Dignidad Rebelde publishes, &quot;Haiti Will Rise Again&quot; designed by EastSide Arts Alliance. This image was created by ESAA to share with the community and featured on their...</summary>
   <author>
      <name>Jesus</name>
      
   </author>
         <category term="Art &amp; Politics" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p><img alt="5afa53022ea9991c910543dd8d4d6f.jpg" src="http://www.justseeds.org/blog/5afa53022ea9991c910543dd8d4d6f.jpg" width="212" height="460" style="float:left;margin-right:10px;border:1px;" border="1" /></p>

<p>We are very happy to announce the release of the first print Dignidad Rebelde publishes, "Haiti Will Rise Again" designed by EastSide Arts Alliance. This image was created by ESAA to share with the community and featured on their website for people to download and print to show their solidarity with the people of Haiti. We loved the image so much we decided to contact ESAA and see if they were interested in having the design transformed into a screen print and used to raise funds for Haiti, all money raised will go to Haiti Emergency Relief Fund. They were very happy about the idea and we got to work. Now that the print is complete we are putting it up for sale, you can buy the print from the <a href="http://dignidadrebelde.com/story/view/45">Dignidad Rebelde</a> website or contacting ESAA.</p>

<p>This is the statement written by EastSide:<br />
"EastSide has produced an image to counter the perception that Haiti is a victimized, poor country by their own bad luck and ineptitude. This racist narrative only serves to erase the strength and revolutionary spirit that defines this Black nation, the first liberated Black Republic."</p>

<p><a href="http://dignidadrebelde.com/story/view/45">Click here to buy the print on the Dignidad Rebelde website.</a></p>]]>
      
   </content>
</entry>
<entry>
   <title>Howard Zinn&apos;s speech on the necessary rebellion of the archivist</title>
   <link rel="alternate" type="text/html" href="http://www.justseeds.org/blog/2010/02/howard_zinns_speech_on_the_nec.html" />
   <id>tag:www.justseeds.org,2010:/blog//42.4382</id>
   
   <published>2010-02-01T14:47:48Z</published>
   <updated>2010-02-01T15:25:28Z</updated>
   
   <summary>Right now I am in library school, training to be an archivist, so I&apos;m posting this speech that Howard Zinn made about the archivist profession which has really inspired me. Lately the idea of taking a political position within the...</summary>
   <author>
      <name>Molly Fair</name>
      
   </author>
         <category term="Free Speech" scheme="http://www.sixapart.com/ns/types#category" />
         <category term="Inspirations" scheme="http://www.sixapart.com/ns/types#category" />
         <category term="People&apos;s History!" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://www.justseeds.org/blog/">
      <![CDATA[<p>Right now I am in library school, training to be an archivist, so I'm posting this  speech that  Howard Zinn made about the archivist profession which has really inspired me. Lately the idea of taking a political position within the profession is something that I have been thinking about a lot. I have been doing a lot of research on archives that operate within the realm of the creative commons or partnerships between institutions and communities to preserve collective histories in the effort to encourage people to have ownership and document their ways of life. It is pretty obvious that those in power control access to information, and knowledge is increasingly  commodified and privatized. </p>

<p>It is necessary to consider who has access to information in our society, and who controls it. Archivists are told that they must remain professionally neutral, but doing so is inherently taking a political stance. Archivists should not be complicit with institutional powers whose policy it is to restrict access to knowledge and information.  Preservation of materials in archives or other institutions like libraries and museums is often privileged over access, and result in exclusionary policies. </p>

<p>It is necessary to examine the biases in our society that reveal why some collective histories are preserved and valued and others have not been collected. It is apparent in many circumstances that artifacts that are held sacred to communities have been taken unjustly, and are displayed and made public in ways that perpetuate imperialism and misrepresentation.</p>

<p>Professionals in information fields may choose to view them as purely scientific or technical, without acknowledging the prejudices and dominant power structures of our society that have shaped and are ingrained in the systems of knowledge organization. In the library field this is reflected in the organization of the Dewey Decimal System or the Library of Congress and their coinciding terminologies and how they have changed over time to be more, ahem, politically correct.  Check out activist-librarian Sandford Berman if you are interested in this.</p>

<p>Those in the archivist profession should fight for open access to information, and to protect and make accessible materials documenting the histories of people that have traditionally been silenced and marginalized. I think Zinn's speech is just as relevant today as it is when he presented it and it was published in the 1970s.  We still live in an age of information secrecy and repression, and corporate ownership.  Simultaneously the Internet has made it possible  for people to spread information on a massive scale whether it is classified documents or a bootlegged movie. Ignoring intellectual property rights may be viewed as an act of rebellion, even though the average person may not consciously think about the act of file sharing as a form of resistance.  The degree to which archivists participate in acts of resistance is something I wish to explore further.</p>

<p>And now on to <a href="http://libr.org/progarchs/documents/Zinn_Speech_MwA_1977.html">Zinn's speech</a>...</p>

<p><br />
<blockquote>SECRECY, ARCHIVES, AND THE PUBLIC INTEREST</p>

<p>HOWARD ZINN</p>

<p>Let me work my way in from the great circle of the world to us at the center by discussing, in turn, three things: the social role of the professional in modern times; the scholar in the United States today; and the archivist here and now.</p>

<p>I will start by quoting from a document-an insidious move to gain rapport with archivists, some might say, except that the document is a bit off the beaten track in archival work (a fact we might ponder later). It is the transcript of a trial that took place in Chicago in the fall of 1969, called affectionately "the Conspiracy Trial." I<br />
refer to it because the transcript occasionally touches on the problem of the professional person-whether a lawyer, historian, or archivist-and the relation between professing one's craft and professing one's humanity. On October 15, 1969, the day of the national Moratorium to protest the war in Vietnam, defense attorney William Kunstler wore a black armband in court to signify his support of the Moratorium and his protest against the war. The government's lawyer, Thomas<br />
Foran, called this to the attention of the judge, saying: "Your Honor, that's outrageous. This man is a mouthpiece. Look at him, wearing a band like his clients, your Honor."</p>]]>
      <![CDATA[<p>The day before the Moratorium, Attorney Kunstler had asked the court to recess October 15 to observe the Moratorium. This dialogue between Kunstler and Judge Hoffman then followed:</p>

<blockquote><strong>Mr. Kunstler</strong>:<em>...And I think it is as important, your Honor, to protest more than some thirty thousand American deaths and Lord knows how many Vietnamese deaths that have occurred in that country as it is to mourn one man {Eisenhower} in the United States, and if courts can close for the death of one man who lived a full life, they ought to close for the deaths of thousands and millions of innocent people whose lives have been corrupted and rotted and perverted by this utter horror that goes on in your name and my name-</em>

<p><strong>The Court:</strong> <em>Not in my name.</em></p>

<p><strong>Mr. Kunstler:</strong> <em>It is in your name, too, in the name of the people of the United States.</em></p>

<p><strong>The Court</strong>: <em>You just include yourself. Don't join me with you. Goodness. Don't you and I-</em></p>

<p><strong>Mr. Kunstler:</strong> <em>You are me, your Honor, because every citizen-you are a citizen and I am a citizen.</em></p>

<p><strong>The Court:</strong> <em>Only because you are a member of the bar of this court and I am obliged to hear you respectfully, as I have done.</em></p>

<p><strong>Mr. Kunstler:</strong> <em>No, your Honor, you are more than that. You are a citizen of the United States.</em></p>

<p><strong>The Court:</strong> <em>Yes, I am.</em></p>

<p><strong>Mr. Kunstler:</strong> <em>And I am a citizen of the United States, and it is done in our name, in Judge Hoffman's name and William Kunstler's name.</em></p>

<p><strong>The Court:</strong> <em>That will be all sir. I shall hear you no further.</em>1</blockquote></p>

<p>Kunstler was trying to accomplish something very difficult, to get a judge to emerge from that comfortable comer which society had declared as his natural habitat, and to declare himself a citizen, even while on the bench, in his robes, plying his profession. Kunstler said a slaughter was taking place in Vietnam, and it was going on in the<br />
name of all citizens, and he wanted the Judge to recognize that fact not only in the evening at home after his robes were off, or at the country club on the weekend, but there, in his daily work, in his most vital hours, in the midst of his job of judging. Kunstler failed, but his attempt illustrates the tension all of us feel, if we have not<br />
been totally mesmerized by the grandeur of our position, the tension between our culture-decreed role as professionals and our existential needs as human beings.</p>

<p>Professionalism is a powerful form of social control. By professionalism I mean the almost total immersion in one's craft, being so absorbed in the day-to-day exercise of those skills, as to have little time, energy, or will to consider what part those skills play in the total social scheme. I say almost-total immersion, because if it were<br />
total, we would be suspicious of it. Being not quite total, we are tolerant of it, or at least sufficiently confused by the mixture to do nothing. It is come thing like Yossarian's jaundice, in Catch 22, where Joseph Heller writes:</p>

<blockquote>Yossarian was in the hospital with a pain in his liver that fell just short of being jaundice. If it became jaundice they could treat it. If it didn't become jaundice and went away they could discharge him. But this just being short of jaundice all the time confused them. 2</blockquote> 

<p>By social control I mean maintaining things as they are, preserving traditional arrangements, preventing any sharp change in how the society distributes wealth and power. Both in pre-modern and modern times, the basic combination for social control has remained the same: force and deception. Machiavelli, writing on the threshold of the modern era, drew upon the past to prescribe for the future that same<br />
combination: the power of the lion, the shrewdness of the fox. The modern era has magnified enormously both elements: it has concentrated force more efficiently than ever before and it has used more sophisticated techniques for deception. The printing press, heralding the spread of knowledge to large sections of the population,<br />
made large-scale deception both necessary and possible, and in the last four centuries we have progressed from the printing press to color television, from Machiavelli to Herman Kahn.</p>

<p>There were few professionals in the old days. Now they are everywhere, and their skills, their knowledge, could be a threat to the status quo. But their will to challenge the going order is constantly weakened by rewards of money and position. And they are so divided, so preoccupied with their particular specialities, as to spend most of<br />
their time smoothing, tightening their tiny piece of linkage in the social machine. This leaves very little time or energy to worry about whether the machine is designed for war or peace, for social need or individual profits, to help us or to poison us.</p>

<p>This specialization of modern times is pernicious enough for waiters, auto mechanics, and doctors, and the bulk of the workers in society, who contribute to the status quo without even knowing it, simply by keeping the vast machinery going without a hitch. But certain professionals serve the status quo in special ways. Weapons experts,<br />
or scientists in military research, may be enormously gifted in their own fields, yet so constricted in their role as citizens, as to turn over their frighteningly potent products without question or with very feeble questioning, to whatever uses the leaders of society decide. Remember the role of the humane genius, Robert Oppenheimer, in the<br />
decision to drop the atomic bomb on Hiroshima. Oppenheimer was a member of the Scientific Advisory Panel which recommended the dropping of the bomb on Hiroshima, thinking it was necessary to save lives. But Oppenheimer later commented (his testimony is in the files of the AEC):</p>

<blockquote>We didn't know beans about the military situation in Japan. We didn't know whether they could be caused to surrender by other means or whether the invasion was really inevitable.</blockquote>

<p>Equally important for social control as the military scientists are those professionals who are connected with the dissemination of knowledge in society: the teachers, the historians, the political scientists, the. journalists, and yes, the archivists. Here too,<br />
professionalization leads to impotence, as everyone is given a little corner of the playground. And it is considered unprofessional to organize everyone in the yard to see if the playground director is violating various of the Ten Commandments as we play. We have all heard the cries of "don't politicize our profession" when someone asks joint action on the war in Vietnam. This has the effect of leaving only our spare time for political checking-up while those who make the political decisions in society-this being their profession-work at it full time.</p>

<p>This neat separation, keeping your nose to the professional grindstone, and leaving politics to your left-over moments, assumes that your profession is not inherently political. It is neutral. Teachers are objective and unbiased. Textbooks are eclectic and fair. The historian is even-handed and factual. The archivist keeps records, a scrupulously neutral job. And so it goes, as Kurt Vonnegut says.</p>

<p>However, if any of these specialists in the accumulation and dissemination of knowledge were to walk over to another part of the playpen, the one marked political sociology, and read Karl Mannheim, who in Ideology and Utopia, points out (following Marx, of course, but it is more prudent to cite Mannheim) that knowledge has a social origin and a social use. It comes out of a divided, embattled world, and is poured into such a world. It is not neutral either in origin or effect. It reflects the bias of a particular social order; more accurately, it reflects the diverse biases of a diverse social order, but with one important qualification: that those with the most power and wealth in society will dominate the field of knowledge, so that it serves their interests. The scholar may swear to his neutrality on the job, but whether he be physicist, historian, or archivist, his work will tend, in this theory, to maintain the existing social order by perpetuating its values, by legitimizing its priorities, by justifying its wars, perpetuating its prejudices, contributing to its xenophobia, and apologizing for<br />
its class order. Thus Aristotle, behind that enormous body of philosophical wisdom, justifies slavery, and Plato, underneath that dazzling set of dialogues, justifies obedience to the state, and Machiavelli, respected as one of the great intellectual figures of history, urges our concentration on means rather than ends.</p>

<p>Now maybe we have not been oblivious to this idea that the professional scholars in any society tend to buttress the existing social order and values of that society. But we have tended to attribute this to other societies, or other times or other professions. Not the United States. Not now. Not here. Not us. It was easy to detect the control of the German scholars or the Russian scholars-but much harder to recognize that the high school texts of our own country have fostered jingoism, war heroes, the Sambo approach to the black man, the vision of the Indian as savage, and the notion that white Western Civilization is the cultural, humanistic summit of man's time on earth.</p>

<p>We could see where scholars in Nazi Germany or Soviet Russia, by quietly doing their job, would be perpetuating an awful set of conditions; to keep that kind of social order intact was wrong and we hoped intellectuals would rebel. The U.S. however, was a different matter; what was wrong here was not the social order itself, but problems at the margins of it. It was all right for intellectuals to keep this basically decent order intact by doing our jobs; and we could attack the problems at the margins by signing petitions and joining political campaigns after hours.</p>

<p>Events of the past decade, I would now argue, have begun to challenge that complacency, that part-time commitment to political involvement which assumes a basically just society, needing only marginal reforms. We have won those reforms. The U.S. is the great model in history of the reformist nation, and the past half-century has been labeled by one of our important historians as "The Age of Reform." We have had New Deal legislation to take care of our economic flaws, Civil Rights laws to take care of our racial problems, Supreme Court decisions to expand our rights in court, the Good Neighbor Policy, Marshall Plan, and Alliance for Progress to repair<br />
our relations with other countries.</p>

<p>Yet, it is exactly at the crest of these reforms that the United States has found itself in a turbulent internal crisis in which a significant part of the younger generation has begun to question the legitimacy of the government, the values of the culture. How is it that after a barrage of Supreme Court decisions, Civil Rights laws, the confrontation between black and white in this country is at its most intense? How is it that after the New Freedom, the New Deal, the Fair Deal, the New Frontier, and the Great Society, the distribution of the immense resources of this society is at its most irrational,<br />
its most wasteful?</p>

<p>The problems of the United States are not peripheral and have not been met by our genius at reform. They are not the problems of excess, but of normalcy. Our racial problem is not the Ku Klux Klan or the South, but our fundamental liberal assumption that paternalismsolves all. Our economic problem is not a depression but the normal<br />
functioning of the economy, dominated by corporate power and profit.<br />
Our problem with justice is not a corrupt judge or bribed jury but the ordinary day-to-day functioning of the police, the law, the courts, where property rights come before human rights. Our problem in foreign policy is not a particular mad adventure: the Spanish American War or the Vietnam War, but a continuous set of suppositions about our role in the world, involving missionary imperialism, and a belief in America's ability to solve complex social problems.</p>

<p>If all this is so, then the normal functioning of the scholar, the intellectual, the researcher, helps maintain those corrupt norms in the United States, just as the intellectual in Germany, Soviet Russia, or South Africa, by simply doing his small job, maintains what is normal in those societies. And if so, then what we always asked of scholars in those terrible places is required of us in the United States today: rebellion against the norm.</p>

<p>In the United States, however, the contribution of scholars to the status quo is more subtle and more complex than in more blatantly oppressive societies. Only a small number of scholars give direct service to the war. Most simply go about their scholarly business, their acts of commission subtle, their acts of omission gross. For<br />
instance, the historians' emphasis on presidents and laws only subtly perpetuates an elitist approach to politics; missing completely in Morison's Oxford History of the American People is the Ludlow Massacre of 1914. The political scientists' emphasis on electoral politics only subtly suggests that voting is the central problem in<br />
democratic control: you look in vain for extensive work on the politics of protest. The scholar's emphasis on Supreme Court decisions only subtly distorts the fact of constitutional rights; constitutional histories omit the reality of police power in determining how much free expression there really is on the streets.</p>

<p>The archivist, even more than the historian and the political scientist, tends to be scrupulous about his neutrality, and to see his job as a technical job, free from the nasty world of political interest: a job of collecting, sorting, preserving, making available, the records of the society. But I will stick by what I have said about other scholars, and argue that the archivist, in subtle ways, tends to perpetuate the political and economic status quo simply by going about his ordinary business. His supposed neutrality is, in other words, a fake.</p>

<p>If so, the rebellion of the archivist against his normal role is not, as so many scholars fear, the politicizing of a neutral craft, but the humanizing of an inevitably political craft. Scholarship in society is inescapably political. Our choice is not between being political or not. Our choice is to follow the politics of the going order, that is, to do our job within the priorities and directions set by the dominant forces of society, or else to promote those human values of peace, equality, and justice, which our present society denies.</p>

<p>I would guess from my small experience-and I leave it up to you to carry on the discussion from there-that the following points are true:</p>

<p>(1) That the existence, preservation, and availability of archives, documents, records in our society are very much determined by the distribution of wealth and power. That is, the most powerful, the richest elements in society have the greatest capacity to find documents, preserve them, and decide what is or is not available to the public. This means government, business, and the military are dominant.</p>

<p>(2) That one of the ways in which information is controlled and democracy denied, is by the government withholding important documents from the public, or keeping secret their existence altogether, or censoring them (how we must struggle to get data about the Gulf of Tonkin, the Bay of Pigs, the bombing of Laos, CIA operations in<br />
Guatemala). And that while the ostensible purpose of such secrecy is the physical security of the nation, the actual purpose is almost always the political security of those who run the nation. Ernest May writes in ,. “A Case for Court Historians:"</p>

<blockquote>The materials needed by historians would also contain much information which, on other than security grounds, government officials would prefer not to see released. . . Sec’y of State Rusk could conceivably have been embarrassed by revelations about advice he gave when Asst. Sec’y of State in the Truman Administration. . . . .3</blockquote>

<p>(3) That the collection of records, papers, and memoirs, as well as oral history, is biased towards the important and powerful people of the society, tending to ignore the impotent and obscure: we learn most about the rich, not the poor; the successful, not the failures; the old, not the young; the politically active, not the politically alienated; men, not women; white, not black; free people rather than prisoners;<br />
civilians rather than soldiers; officers rather than enlisted men. Someone writing about Strom Thurmond will have no problem with material. But what if someone wants to write about the blind black jazz pianist, Art Tatum?</p>

<p>(4) That, despite the recent development of oral history, the written word still dominates, and this tends to emphasize the top layers, the most literate elements in the population.</p>

<p>(5) That the emphasis in the collection of records is towards individuals rather than movements, towards static interviews, rather than the dynamics of social interaction in demonstrations. For instance, where is the raw material-that very raw material lon<br />
the experience of demonstrators in Chicago at .the hands of the police at the 1968 convention, which was used by the Walker Commission? I wonder, for instance, if Boston University, proud that it holds the papers of Martin Luther King, has recorded the experience of students who were clubbed by police at the Student Union last year?</p>

<p>(6) That the emphasis is on the past over the present, on the antiquarian over the contemporary; on the non-controversial over the controversial; the cold over the hot. What about the transcripts of trials? Shouldn't these be made easily available to the public? Not just important trials like the Chicago Conspiracy Trial I referred to, but the ordinary trials of ordinary persons, an important part of the record of our society. Even the extraordinary trials of extraordinary persons are not available, but perhaps they do not show our society at its best. The trial of the Catonsville 9 would be lost to us if Father Daniel Berrigan had not gone through the transcript and written a<br />
play based on it.</p>

<p>(7) That far more resources are devoted to the collection and preservation of what already exists as records, than to recording fresh data: I would guess that more energy and money is going for the collection and publication of the Papers of John Adams than for recording the experiences of soldiers on the battlefront in Vietnam.<br />
Where are the interviews of Seymour Hersh with those involved in the My Lai Massacre, or Fred Gardner's interviews with those involved in the Presidio Mutiny Trial in California, or Wallace Terry's interviews with black GI's in Vietnam? Where are the recorded experiences of the young Americans in Southeast Asia who quit the International Volunteer Service in protest against American policy there, or of the<br />
Foreign Service officers who have quietly left?</p>

<p>Let me point to some random pieces of evidence to illustrate these points I have made about the going bias in archival work. Recently, I came across a list of letterpress publications sponsored, assisted, or endorsed by the National Historical Publications Commission of the General Services Administration. The papers of thirty-three Americans are being published. There is one black person on the list, and that<br />
is Booker T. Washington. What about Mother Jones, the labor organizer, or Bob Moses, the SNCC leader, or the papers of the man who lives down the street? I know that the very stress on collected papers is severely limiting, but there are papers of the leaders of protest movements. Of course there are problems: the papers of Big<br />
Bill Haywood were destroyed by the United States Government. But what of Eugene Debs or Clarence Darrow? I suppose it could be claimed that there is one important leader of a protest movement on the list: that is Jefferson Davis.</p>

<p>Another item of evidence: In an article by Amelia Fry and Willa Baum, oral-historians at the-University of California at Berkeley, the authors cite the lack of money as causing some oral history projects to erase important tapes. They note the feeling among some persons involved in oral history that "since preserving tapes is expensive and required special conditions, the decision should hinge on the affluence<br />
of the project and the relative importance of the person interviewed."4</p>

<p>The Oral History Collection at Columbia University seems almost a caricature of the biases I have noted. It has long ignored the poor, the obscure, the radicals, the outcasts-it has ignored movements and living events. When I wrote from the South, in the midst of the civil rights movement, to the Columbia Oral History Collection to try to get them to tape what was happening at the time in Georgia, Alabama, Mississippi, I got a bureaucratic response which muttered about money and priorities and allocations, the upshot of which was: no. But the latest report of the Oral History Project gives doting attention to its Air Force Project, Navy Project, Marine Project. It is happy to have the reminiscences of General O'Donnell: how about the reminiscences of the various Yossarians in the Air Force? It has the Allan Nevins project which consists of interviewing the friends of Allan Nevins (wouldn't it be more interesting to interview the enemies of Allan Nevins?) It will spend much time interviewing members of the Eisenhower Administration, based on a $120,000 grant from' the National Archives. Has the Project interviewed Mrs. Fannie Lou Hamer of Ruleville, Mississippi, or Eldridge Cleaver or Dave Dellinger? Did it go to the Poor Peoples' March and interview the people camped out there in the mud? Has it interviewed Vietnam veterans in the rehabilitation hospitals? Does it go into the ghetto around Columbia University? Or is that job only for Kenneth Clark?<br />
For important contemporary interviews, one might do better to consult Playboy<br />
Magazine than the Columbia Oral History Project.</p>

<p>Another item of evidence: In the American Historical Association newsletter of April 1970, there is a report of the "Thirteenth Meeting of the Advisory Committee on "Foreign Relations of the United States, "5 a series of State Department documents issued by the year. The Advisory Committee has representatives of the American Historical Association the American Political Science Association, and the Society of International Law. One clause in the report reads: "in 1962 the Secretary<br />
of State officially set the time lapse at 20 years-the committee cannot have access to these Foreign Relations documents until twenty years have elapsed. By what right, in a democracy requiring the enlightenment of the public, does any bureaucrat make such decisions for us all? Yet this advisory committee of scholars is painfully obsequious before the might of government: they complain that it takes as much as two years for the volumes of Foreign Relations to get clearance from Department of State, but instead of challenging the whole concept of clearance, the committee only asks humbly for the clearance procedure to move faster.6</p>

<p>Note -also that while the Foreign Relations staff must wait 20 years, the public at large must wait 30 years, and indeed the committee of scholars say they are "highly disturbed by the narrowing gap" between the scholars' wait and the public's wait, and by the possibility of "outside, ad hoc publication"-that is publication outside the official aegis of the State Department and the committee of scholars. Such publication, they warn, may beat the Foreign Relations series to the punch, and "provide inaccurate or partial accounts" which "may achieve a popular impact." This could be offset, however, by quicker publication of the Foreign Relations series, with the cooperation of the State Department.7 We find in it another paragraph of outstanding timidity, in which the committee expresses its concern that the open period may move back beyond 30 years. Such a move, the committee says with measured sycophancy, would be "violative of the commendable record the Department of State has maintained over the decades in making the foreign relations documentation of the United States publicly and systematically available." In that paragraph the committee notes that other countries such as England are moving in the opposite direction, decreasing the years of closed records, and then it concludes: "The committee is not herewith advocating advancing the open period for full public access to diplomatic documentation, but it believes that everything should be done to prevent it from being set back in excess of 30 years."</p>

<p>Thus. the committee falls allover itself in gratitude that the public only has to wait 30 years. It doesn't want to rock the boat (which all hands aboard know is sinking) by asking for a shorter wait. Where is the bold, inquiring spirit of the scholar in a democratic state. demanding to see government documents as a right. not a privilege? No wonder, with such a government, and with such scholars, we do desperately need I. F. Stone.</p>

<p>What is the net effect of the kind of archival biases I have just described? To protect governmental authorities from close scrutiny, and therefore from the indignation, the anger that might result from a closer look at government policies. To glorify important people, powerful people, military, political, and business leaders, to keep obscure the lives of ordinary people in the society. To maintain such archival biases<br />
requires no malfeasance on the part of archivists, only passivity, only falling into the lines already set by the dominant trends of the profession.</p>

<p>I say dominant trends, because I know there are some good things being done in archival work, some pioneering efforts in recording events, in oral history with ordinary people, in black history, in labor history. But let's resist the characteristically American trick of passing off fundamental criticism by pointing to a few reforms. The<br />
Saigon regime reformed itself for twenty years before it finally fell. We are still passing civil rights laws, and poverty bills. Let us not once again be happy because like Yossairian, we don't quite have jaundice. We also are not quite cured. Like Yossairian, we are still in the hospital. Like him, we are in danger. And we will remain in danger until, like him, we rebel.</p>

<p>I have argued that the crisis of present-day America is not one of aberration, but of normalcy, that at issue are not marginal characteristics, but our central operating values: the profit system, racial paternalism, violence towards those outside our narrow pale. If this is so, then scholarly passivity, far from being neutral and disinterested, serves those operating values. What is required then is to wrench ourselves out of our passivity, to try to integrate our professional lives with our humanity.</p>

<p>I have only two proposals for archivists: One, that they engage in a campaign to open all government documents to the public. If there are rare exceptions, let the burden of proof be on those who claim them, not as now on the citizen who wants information. And two, that they take the trouble to compile a whole new world of documentary material, about the lives, desires, needs, of ordinary people. Both of these proposals are in keeping with the spirit of democracy, which demands that<br />
the population know what the government is doing, and that the condition,<br />
the grievances. the will of the underclasses become a force in the nation.</p>

<p>To refuse to be instruments of social control in an essentially undemocratic society, to begin to play some small part in the creation of a real democracy: these are worthy jobs for historians, for archivists, for us all.</p>

<p></p>

<p>FOOTNOTES</p>

<p>1. U.S. v Dellinger, et al. 69 CR 180; Judy Clavin and John Spitzer, The Conspiracy Trial (Indianapolis: Bobbs-Merrill Co., 1970), pp. 88-9.<br />
2. Robert M. Scotto (ed.), Joseph Heller's Catch-22 (New York: Dell Publishing Co., 1973), p. 7 .<br />
3. Charles Warren Cambridge (ed.), Perspectives in American History, 1969, Vol. III (Cambridge: Harvard Univ.) pp. 421.2.<br />
4. Amelia Fry and Willa Baum, "A Janus Look at Oral History,"The American Archivist 32 (October, 1969) 325.<br />
5. American Historical Association, Newsletter, 8 (April, 1970) 2-10.<br />
6. Ibid. p.4.<br />
7. Ibid. p. 6.</p>

<p>* An abridged version of this paper originally appeared in the Fall,<br />
1971 issue of The Boston University Journal.</p>

<p>From Midwestern Archivist Volume II, Number 2 1977 pp. 14-27.</blockquote></p>]]>
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