7. how can we make tools
and tactics public,
so that they
trigger grassroot
actions within
the system?
8. how can we make tools
and tactics public,
so that they
Why do we attach so much importance to
the difference between Body Politik and
Phantom (Public)? It grassroot
trigger eloquence to become
is due to the fact
that for the new Bruno Latour
a habit of thought, we must be able to
From realpolitik to
dis- tinguish two ways within To
actions of speaking. dinkpolitik
raise a political question often means
to reveal a state of affairs whose
presence system?
the was hitherto hidden.
9. Driven by local and community issues and in-
tended as polemics that question conven-
how can we make tools
tional practice, these projects reflect an
ad hoc way of working; they are motivated Mimi Zeiger
more by grassroots activism than by the kind The Interventionist’s
and tactics public,
of home-ec craft projects (think pickling,
Ikea-hacking and knitting) sponsored by
Toolkit
mainstream shelter media, usually under the
so that they Do-It-Yourself rubric.
trigger grassroot
actions within
the system?
10.
11. how to survive on
a system that is not
a system anymore
{tools and tactics}
12. how to survive on
a system that is not
Speaking about Survival Kits and Globaliza-
tion, the first thing that comes to mind is a
cal troubles, of a system forced mi-
wars followed by anymore
picture of an age of global unrest, of politi-
gration, and ecological disasters, which force
people out of their homes. This raises the
Marga van Mechelen
question: what do people need to survive it
Survival Kits: Artistic Responses
all? (…)The survival kits addressed here are
to Globalization
at times products that aid survival in severe
circumstances, but first and foremost, they
entail a combination of physical objects and
symbolic representations of the state of the
world. All of them are designed by artists, in
the broadest sense of the word
13. how to survive on What I refer to is about the observa-
tion of one of my latest studies on
people who have decided not to wait
a system that is not for the revolution - to start liv-
ing differently - meaning the ex-
pansion of what I call in a techni-
a system anymore cal term ‘non-capitalist practices’.
They are economic practices but they
don’t have a for-profit motivation -
Paraphrasing
such as barter networks; such as so-
Eduardo Galeano and System d
cial currencies; co-operatives; self-
management; agricultural networks;
helping each other simply in terms of
wanting to be together; networks of
providing services for free to others
in the expectation that someone will
also provide to you. All this exists
and it’s expanding throughout the
world.
14. A tactic takes advantage of “opportunities” and
depends on them, being without any base where it
could stockpile its winnings, build up its own
position and plan raids. What it wins it can-
not keep. This nowhere gives a tactic mobility,
to be sure, but a mobility that must accept the Michel de Certeau
chance offerings of the moment, and seize on the The practice of Everyday Life
wing the possibilities that offer themselves at
any given moment. It must vigilantly make use
of the cracks that particular conjunctions open
in the surveillance of the proprietary powers.
It poaches them. It creates surprises in them.
It can be where it is least expected. It is a
how to survive on guileful ruse.
a system that is not
{tools and tactics}
a system tactics
17. Define the method through which the tactics
are distilled.
Define the medium to communicate the tools and
tactics.
Put in practice some of the tactics to tackle
different matters of concern.
Build strategic infrastruture that can trigger
tactical action.
18. Define the method through which the tactics
are distilled.
Define the medium to communicate the tools and
tactics.
Put in practice some of the tactics to tackkle
different matters of concern.
Build strategic infrastruture that can trigger
tactical action.
20. To finally reach the ideal goal of a non-designed
community, SUPERSTUDIO progressively whittled
away at the architectural relationship between
the individual and the social contract, conclud-
ing the journey not with a new form of people’s
architecture, but an architectural people ready
to give their world a shape.
Peter Lang - Suicidal Desires