Alan Edward Larsen
[email protected]
“WE ARE ALL PUSSY RIOT”:
A PHANTOM COUNTERPUBLIC’S SIMULATIONIST TACTICS
This paper discusses how the tactics of the Russian punk/protest group Pussy Riot
provide models for cultural resistance that respond – through the group’s approach to
self-definition (forming a collective identity open to appropriation by dispersed publics)
and methods of representation within the public sphere (fictionalized representations of
interventions in public space designed to travel as media images through the network) –
to the dynamics of power in network society. In their implementation of these tactics,
Pussy Riot’s work is imbued with a sense of play, creating images that address the
imagination that have inspired identification with the group and solidarity actions.
With the trial – and now, imprisonment of members of the group – the story of
Pussy Riot has tended to be framed in a familiar manner: free speech vs. repressive state
control. It is hard to argue against this reading. As the Riot Girl icon Kathleen Hanna
noted in the title of a blog post during the trial: “Seriously they are in a Fucking Cage!!!”1
But framing Pussy Riot in these terms risks covering over the complexity of the project.
The work of Pussy Riot is actually weirder and more complicated, and needs to be
analyzed in terms of how it addresses collective forms of identity, the nature of political
representation and dissent in the contemporary networked media environment.
I begin with a discussion of how the group created conditions for individuals to
feel a deep personal identification with the group, facilitating the formation of
counterpublics in response to the texts of the group. The group achieved this through a
variety of means: the style of the performances, the use of graphically simple masks,
1
anonymity, the fluid membership of the group and statements that encouraged people to
use their tactics as templates for further actions.
Referencing comics scholar Scott McCloud I show how the graphic simplicity of
the group’s balaclava masks was not only a method for evading identification by
authorities, but also a method for promoting identification with the group. Turning the
face of an individual into a reduced, cartoon-like image – eyes and mouth, outline of the
head – encourages a viewer to understand this face as not unlike her own. This type of
“open” mask is contrasted to the highly specific Guy Fawkes masks associated with the
group Anonymous and a recurring presence at Occupy Wall Street actions.
Pussy Riot’s masks also allowed them to present the group as a movement rather
than a small group of individuals. Drawing on Brian Holmes’ discussion of “collective
phantoms” I demonstrate how the group created a shared collective identity that is
available for appropriation as a tactic to avoid the ability of state power to identify and
punish dissenters and the tendency of commercial media to report on individual
personalities rather than issues. Thus the threat Pussy Riot posed was never the threat of a
small group of women but the threat of a social movement whose numbers could not be
counted.
Drawing from McKenzie Wark (“vectoral power”) and Critical Art Ensemble
(their theorization of digital resistance) I discuss how in network society public space has
become problematic as a site for protest and the staging of social struggle even while “the
street” continues to exert a strong pull on our imaginations. I then show how – in a time
in which the power of presence and the power of media representation go hand and street
tactics and media tactics are intertwined – Pussy Riot play fast and loose with the truth in
2
their videos, using the street, not as a site of resistance or a point of engagement with the
public sphere, but as a backdrop, a set, leveraging its symbolic power to create highly
constructed documentary-like images of events that never quite happened, but are
designed to travel through the network. Thus, while supporters of Pussy Riot have
characterized the group as playing “unsanctioned concerts as a means of political protest”
2
the group are engaged in what I call “simulationist tactics” creating fictions that speak to
the imagination and provoke mimicry and identification in dispersed publics.
How effective were these tactics? As a media event, Pussy Riot was huge,
implicating a range of celebrities (Madonna, Bjork, Garry Kasparov), the US State
Department, and of course countless commentators. The arrest and trial, however,
identified and unmasked three distinct members of the amorphous collective, making an
example of these women and working to turn Pussy Riot from an idea back into
individuals. With faces and biographies it was possible for supporters and detractors both
to treat them as individuals, framed as heroes or as demons. This individualization of
formerly anonymous members of the collective was an attempt to neutralize the
collective threat. As the individual Pussy Riot members become more individually
articulated in the media the phantom nature of Pussy Riot is jeopardized. However, it is
in the nature of tactical media to allow for self-terminating projects and it is fitting that a
phantom might disappear into the ether rather than allow itself to be captured and
quantified. Still, the style of Pussy Riot has become a kind of shorthand for resistance to
state authority and patriarchal culture with many variations in different contexts, thus the
available vocabulary of contemporary protest has been expanded and I end with a review
of a diverse range of Pussy Riot solidarity actions around the world.
3
PRELIMINARY BIBLIOGRAPHY
Baudrillard, Jean. Simulacra and Simulation. Ann Arbor: University of Michigan Press,
1995.
Borenstein, Eliot. “Pussy Riot: the telenovela?” Jordan Center for the Advanced Study of
Russia. New York University. 12 Oct. 2012. 1 May 2013.
<http://jordanrussiacenter.org/news/pussy-riot-the-telenovela/#.UX8UGoJU-ZA>.
Braidotti, Rosi. Nomadic Theory: the Portable Rosi Braidotti. New York: Columbia
University Press, 2011.
Braidotti, Rosi. “What Pussy Riot Know.” ENACT – Enacting European Citizenship. 25
Mar. 2013, 20 Aug. 2013.
<http://www.enacting-citizenship.eu/index.php/sections/news_item/426/>.
Chehonadskih, Maria. “What is Pussy Riot’s ‘Idea’?” Radical Philosophy 176 (2012). 1
May 2013 <http://www.radicalphilosophy.com/commentary/what-is-pussy-riotsidea>.
Chernov, Sergey. “Female Fury.” St. Petersburg Times 1693. 1 Feb. 2012. 1 May 2013.
<http://www.sptimes.ru/story/35092>.
Critical Art Ensemble, Electronic Civil Disobedience, Autonomedia, 1996.
Dean, Jodi. “Communicative Capitalism: Circulation and the Foreclosure of Politics”.
Cultural Politics 2005 Volume 1, Number 1: 51-74.
Gibson, William. Pattern Recognition. New York: The Berkley Publishing Group, 2003.
Holmes, Brian “Unleashing the Collective Phantom (Resistance to Networked
Individualism).” Mute, 10 May 2002. 1 May 2013.
<http://www.metamute.org/editorial/articles/unleashing-collective-phantomresistance-to-networked-individualism>.
Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 2005.
McCloud, Scott. Understanding Comics. New York: HarperCollins. 1994. Print.
Wark, McKenzie. Telesthesia: Communication, Culture, and Class. Cambridge, UK:
Polity, 2012.
4
Wark, McKenzie. “McKenzie Wark on Occupy Wall Street: ‘How to Occupy an
Abstraction’” 3 Oct, 2011. 1 May 2013. Verso Books.
<http://www.versobooks.com/blogs/728-mckenzie-wark-on-occupy-wall-streethow-to-occupy-an-abstraction>.
Warner, Michael. Publics and Counterpublics. New York: Zone, 2002.
Zagvozdina, Darya “‘Art and politics are inseparable for us’ - interview with Pussy Riot.”
27 Feb. 2012. Gazeta.ru <http://en.gazeta.ru/news/2012/02/27/a_4014157.shtml>
Žižek, Slavoj. “The True Blasphemy: Slavoj Žižek on Pussy Riot” Dangerous Minds. 10
Aug. 2012. 1 May 2013
<http://dangerousminds.net/comments/the_true_blasphemy_slavoj_zhizhek_on_p
ussy_riot>.
1. Hanna, Kathleen. “Seriously they are in a Fucking Cage!!!” Website. 7 Aug. 2012. 1 May 2013.
<http://www.kathleenhanna.com/seriously-they-are-in-a-fucking-cage/>.
2. “Pussy-Riot-Olympia-Solidarity-hd.mov.” Online video. YouTube. YouTube, 25 Jul. 2012. 1 May 2013
<http://www.youtube.com/watch?v=ZypM399B0rw>.
5
Al Larsen
PO Box 5074, Burlington, VT 05402 | [email protected]
Research and Production Interests
public space, media technologies and subculture, interactive technologies for
performance
Academic Appointment
Assistant Professor and Program Coordinator, BFA in Creative Media
Champlain College, Burlington, VT
Education
MFA, Media Arts Production (Emerging Practices)
Department of Media Study, University at Buffalo, Buffalo, NY
Thesis Committee: Trebor Scholz (chair), Mark Shepard, Sarah Bay-Cheng
BA, English (English Literature)
University of Oregon, Eugene, OR
Courses Taught
Champlain College:
Technology as a Disruptive Force
Art/Innovation/Resistance
Physical Computing
Causes of Emergence
Puzzles and Prototypes
Introduction to Interaction Design
Digital Interactive Design
Creative Media Portfolio
Collaborative Production
Thesis Process
Integrative Thesis Project I
Integrative Thesis Project II
University at Buffalo:
Interactive Computer Art
Intermediate Digital Arts
Basic Digital Arts
Social Web Media
Interface Design
Designing for Web 2.0
Journalism for the Web
New Media I (Web Authoring)
New Media II (Interactive Multimedia)
Conference Papers, Panels and Talks
2013 Blood, Ketchup and Pussy Riot: The Performance of Public Protest
Media in Transition 8, international conference
Massachusetts Institute of Technology, Cambridge, MA
2012
This Video is Public: Pussy Riot, Public Space, Performance and Protest
CAMP, Groveland, NY
2011
Grunge and Globalization
Popular Culture Association of Canada Conference, Niagara Falls, Ontario, Canada
2009
Showing and Sharing on a Friday Night (After Work! More Work!): Participatory Dynamics
in Real Space Event Series
Media in Transition 6 international conference
Massachusetts Institute of Technology, Cambridge, MA
Popping the Seams/Cracks in the Sidewalk: What Sprouts in the Wake of the Financial
Crisis?
Doe Bay, Olga, WA
The Graphic Symbol in Hardcore Punk: Participation, Collectivity and Viral Transmission
PCAS/ACAS conference, Wilmington, NC
DIY
panel discussion, The Public School, Los Angeles, CA
2007
Thinking Small: The Mediated Community and the Economy of Being You
series curated by Anna Huff
California Institute of the Arts, Valencia, CA
Publications
articles, critical writing:
2013
“Fast, cheap and out of control: the graphic symbol in hardcore punk” The Journal of
Punk and Post Punk, 2.1 (INTELLECT)
2013
“As Our Bodies Betray Us: Physical Computing for Rock-n-Roll” Critical Making Montreal,
edited by Garnet Hertz
2012
“Unfinished Business” P-Queue, edited by Holly Melgard and Joey Yearous-Algozin
2009
“Skating the Hurricane: Crisis and Opportunity” The Squealer, 19.1
2008
“Selling (Out) the Local Scene: Grunge and Globalization” MFA Thesis
“Showing and Sharing on a Saturday Night.” The Squealer, 18.1
published visual art:
2010 The Open Day Book, edited by David P. Earle, Mark Batty Publisher.
Exhibitions, Screenings and Performances
work in video, performance, participatory events, sound art
2013
User Required (April 2013)
Burlington City Arts, Burlington, VT
curated by DJ Hellerman
2012
Champlain College Art Show
Champlain College, Burlington, VT
2
2011
E-Poetry 2011: International Digital Language | Arts Festival
University at Buffalo, Buffalo, NY
2010
Stimulus
Hallwalls Contemporary Art Center, Buffalo, NY
Wide Margins
Western New York Book Arts Center, Buffalo, NY
Faster Pussycat, Spill! Spill!
Hallwalls Contemporary Art Center, Buffalo, NY
Magma Festival
Seattle, WA
Big Night
Western New York Books Arts Center, Buffalo, NY
2009
Narrow Waters (as part of What the Heck Fest) Anacortes, WA
2008
As Our Bodies Betray Us: Physical Computing for Rock-n-Roll
Rust Belt Books, Buffalo, NY
SoundLAB Edition IV: memoryscapes (as part of FILE Electronic Language Festival)
Rio de Janeiro, Brazil
What the Heck Fest
Anacortes, WA
Le Carnaval du Portrait
Big Orbit Gallery, Buffalo, NY
2007
Lights! Cameras! Cookies! (as part of What the Heck Fest)
Anacortes, WA
Telic Arts Exchange
Los Angeles, CA
VELOCITY, Festival of Digital Culture
Lancashire, UK
SoundLAB Edition IV: memoryscapes (as part of FILE Electronic Language Festival)
Sao Paulo, Brazil
Hot Solder, Smokin' Chips
The Burns Building, Buffalo, NY
Immediacy
Soundlab, Buffalo, NY
Erie Electric
Smartwall Gallery, Alfred University, Alfred, NY
3
Step Into My Office
520 NW Davis, Portland, OR
SoundLAB Edition IV: memoryscapes
Casoria International Contemporary Art Museum
Casoria, Italy
2006
Space Cave
Kitchen Distribution, Buffalo, NY
Net<3
University at Buffalo Art Gallery, Buffalo, NY
SoundLAB Edition IV: memoryscapes (as part of Festival Arte Digital)
Rosario, Argentina
SoundLAB Edition IV: memoryscapes (as part of PI – Performance & Intermedia Festival)
OFFICYNA, Szczecin, Poland
Locals Only
Olympia Film Festival, Capitol Theater, Olympia, WA
Radio Play Back Boom Boxor (as part of Distributed Religion exhibition)
The Art Gallery of Knoxville, Knoxville, TN
Spark Art Space
Syracuse, NY
2005
Blue-Sky Work Outs
curated by Dana Dart-McLean
Pacific Northwest College of Art, Portland, OR
2004
Yeah! Fest!
Olympia, WA
What the Heck Fest
Anacortes, WA
Olympia Festival of Experimental Musics
Olympia, WA
The Vera Project
Seattle, WA
Western Washington University Coffeehouse
Bellingham, WA
2003
Paper, Scissors, ROCK
curated by Jacob McMurray
Experience Music Project, Seattle, WA
Paper, Scissors, ROCK
curated by Jacob McMurray
4
Pacific Northwest College of Art, Portland, OR
2002
The Powerlines are Down (for six car audio systems in motion)
Olympia Arts Walk, Olympia, WA
Community Print Group Show
Space 1026, Philadelphia, PA
2001
The Friendship Trail (as part of YoYo a GoGo)
Olympia, WA
1999
Community Print Group Show
Reading Frenzy, Portland, OR
1996
Caustic Eyesore (as part of NXNW Festival)
Ozone, Portland, OR
1994
Flightpaths to Each Other
Glasgow School of Art, Glasgow, Scotland
1991
The Map Show (as part of International Pop Underground Convention)
Capitol Theater, Olympia, WA
Recordings
albums:
2005 The Hardline According to Danny and the Dinosaur - Al Larsen
CD (property is theft)
2003
Property Is Theft Variety Compilation – various artists
CD (property is theft)
2001
Appetite for Extinction Vol 2 - Melting Igloo
CD (property is theft)
1999
Library Nation - Evil Tambourines
CD/LP (Sub Pop)
1997
Generate - Some Velvet Sidewalk
CD/LP (K Records)
1995
The Right to Hang Out - Telepathic Youth
CS (Pebbles 2000)
1994
Shipwreck - Some Velvet Sidewalk
LP/CD (K Records)
1992
Whirlpool - Some Velvet Sidewalk
LP/CS/CD (K Records)
1991
Avalanche - Some Velvet Sidewalk
LP/CS/CD (K Records)
1990
Appetite for Extinction - Some Velvet Sidewalk
5
LP/CS/CD (K/Communion)
The Insect Way - Al Larsen
CS (Pebbles 2000)
1988
From Playground 'ti Now - Some Velvet Sidewalk
CS (self-released)
Talks and Panels Organized
2013 Designing User Experiences – panel discussion with four user experience designers
Champlain College, Burlington, VT
2008 - Dorkbot Buffalo - presentation series for artists working with technology
2010 organized in collaboration with Jessica Thompson and Brian Clark
Sugar City, Buffalo, NY
2009
Chris Carlsson: Nowtopia - visiting scholar lecture
University at Buffalo, Buffalo, NY
Seeds of the New Commons: Building the Future in the Present
Sugar City, Buffalo, NY
Over, Up, Down, or Through? (as part of Be B In - Baltimore/Buffalo Exchange)
organized in collaboration with Melissa Moore
Sugar City, Buffalo, NY
2009
An Open Discussion on Making It Happen
Anacortes, WA
2009
Media Theory Summer Reading Group
Buffalo, NY
2006
The Economics of a Life in the Arts
panel and discussion, organized in collaboration with Trebor Scholz
Department of Media Study, University at Buffalo, Buffalo, NY
Residencies and Awards
2009 Local Artist Access Residency, Squeaky Wheel Media Arts Center, Buffalo, NY
UUP Professional Development Grant
2008
UUP Professional Development Grant
2007
GSEU Professional Development Grant
1993
International Artist Exchange with travel and living stipend, City of Glasgow, UK
Curatorial Projects
2009 Narrow Waters (as part of What the Heck Fest, Anacortes, WA)
in collaboration with Stella Marrs
2007
Erie Electric
Smartwall Gallery, Alfred University, Alfred, NY
6
2003
Paris68
Capitol Theater, Olympia, WA
Additional Experience
2013 Art Papers Reviewer, ACM SIGGRAPH Conference
Exhibit-Exchange-Envision (faculty research event), Champlain College, Burlington, VT
Makers On Deck, Burlington City Arts, Burlington, VT
2010
Grantwriting and Installation Assistant, Scan Lines (video exhibit curated by Stella Marrs),
Tonawanda Art Center, Tonawanda, NY
2008
Member, Graduate Group in Cultural Studies
University at Buffalo, Buffalo, NY
2006
Video Documentation Team, Architecture and Situated Technologies Conference
co-produced by the Center for Virtual Architecture, Institute for Distributed Creativity and
The Architectural League of New York, New York City, NY
2005 - President, Media Study GSA
2006 University at Buffalo, Buffalo, NY
1998 - Community Print
2005 founding member of cooperative community printmaking studio
Olympia, WA
7