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Additional resources for Thamyris Intersecting N. 21 (2010) - Cultural Activism: Practices, Dilemmas, Possibilities
1814 Eric Drooker. Music Vs. Police. 2000 42 | A. K. Thompson Thamyris/Intersecting No. 21 (2010) 35–64 By collapsing the historical and the mystical into a single representational register, Drooker provided a concrete means by which activists could enact a transposition from the ideal to the concrete and back again. Significantly, this ability to effect a transposition of registers was aided by the reappearance of forms of religious thinking. And though rendered in the secularized idiom of late capitalism (an idiom which countenances no pretense to hermeneutic depth), Drooker’s biblical allusions are unmistakable.
A good photomontage has the same sort of effect as a good joke” (2002: 43). Although Lukács goes on to critique the limits of this representational strategy, we find in his initial description all of the important aspects of Banksy’s work. However, in the case of Banksy, the social environment into which his work is inserted becomes one of the juxtaposed heterogeneous elements. Since this is the case, the political power that Lukács attributes to the joke takes on its full significance. According to Freud, humor was one means by which elements repressed in the subconscious slipped past the censors of consciousness.
Here, the rules of logic are swept away by the torrential movement of the rising stream of consciousness. Drooker locates this alter-world, this collective repository of wish images, in the deepest tunnels of the New York subway system. Passing through despair, the protagonist comes into direct contact with the contents of the image archive. Fertility goddesses share space with Egyptian hieroglyphs that give way to cave paintings and tribal dance circles. Emerging from the archive and returning to the present, the protagonist is confronted in chapter 3 with the catastrophic dimensions of the everyday.