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14
Nevertheless, I suppose in Germany the idea of “memory” leads to long held discussions on the dangers of forgetting. Not in terms of surveillance as part of the memory of East Germany, but in terms of a cynical, self-serving revival of authoritarianism which takes the form a “negative hipness” or “nipsterism” which occurs in the authoritarian left as well as in the authoritarian right. The right may be more familiar, updated skinheads with better pants and misguided professionals who have a void within themselves. But the contemporary authoritarian left is perhaps even more dangerous. Making use of their “slang” and normatives harvested from the internal colonies of the US and the associated “fashionable misfortunes” along with the culture industry, they attempt to build a kind of militarized, culture of gated community fencing. But they want their cake and to eat it too. They wish to gain all the benefits of adhering to corporatized necro-capitalism. But they also want to maintain their veneer of “progressivism” and inclusivity. This inclusivity fails when they are threatened by those who don’t buy their narratives, those who excessively think for themselves, ask questions or seek to build bridges instead of walls.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
The work featured here is quickly done as a fast-paced direct response to any aggressive normalizations of cynical urban “culture” or even stalking that I along with many others unfortunately experience in today’s world. The images are drawn from publicly available stock graphics, placed in a strategic pattern and rushed out to be printed at a local liquor store/internet café to be tapped up where other art is being displayed. A rule is that it is not displayed publicly in a way that causes any permanent damage to any property. Another might be that the work operates as a temporary parasite on other artworks. It may “use the enemy” in that there probably is a correlation with advertising but this is not intentional. It probably just is the nature of a direct response to the characteristics of the modern aggressor. I recognize that there are far more skilled efforts in art than mine and that beauty and self-expression are denied in my work. This is not by choice really but perhaps I have some opportunity to behave in this way through my electronic music from time to time perhaps.
How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?
I have no conscious control over the emotional and intellectual perceptions of others. It may be possible for a few people to temporary achieve these things, but I suggest that they overstate their effects.
My work is to be randomly viewed by chance by passers by. Hopefully it works as a counter-propaganda, social anti-virus that makes a subtle but pervasive impact.
Thanks a lot for your time and for sharing your thoughts, Justin. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?
My last thoughts, first of all would be to once more thank NotRandomArt for the chance to share what I have working on. I would also like to mention my electronic music, i.e. progressive trance that I have produced. They can be found here:
Track title: “Targeted”. Beatport link:
https://www.beatport.com/track/targeted-original-mix/8706966
Track title: “Empire of Illusion”. Beatport link:
https://www.beatport.com/track/empire-of-illusion-original-mix/11259486
I also have an older full-length record of ambient techno released by San Francisco’s Silent Records as a collaboration with former Psychic TV member Alaura. The Amazon link is here:
https://amzn.to/2C2dUvo
I would lastly like to encourage any readers to investigate “gang stalking” and go to the website of the anti-gang stalking and human rights organization Targeted Justice:
https://www.targetedjustice.com/
Further reading, “Recapturing the Inverted Systems of Our Civilization” by Justin Beck and Eda Keskin originally appearing in the Millennium Alliance for Humanity and Biosphere (MAHB) Magazine, April 2017: https://mahb.stanford.edu/blog/systems-recapture/
previous experiences or if you rather use memory as starting point to create.
My memory is clearly a starting point to create. I don't have any autobiographical message. I use my personnal experience ( what I feel , what I see, what I learn, what I ear...) to work. It's a motor or a material. I'm not able to paint, so I can't do something with red or white or yellow or black colors. All I have is life, a body alive. And I need to do something with that...
My sensation about life sometimes is too intense then I need to transform this intensity in some action. Some artistic action... If people can take something from this action this is great... but I don't want to give them “a specific message” or to control the translation of my experience.