effort that the accompanying
media circus will exert in keeping its consumers “informed”.
(18) The inherent stupidity in trying to apply realtime commentary and analysis
to a virtually uncontrollable, non-negotiable situation leads to the sickening
creation of “armchair experts”, all eager to profess how best
to handle the situation from the comfort of the other side of the screen.
Talk radio shows carried listeners’ fuming about whether or not the
storming of the building was correct, even as the fighting raged on. General
assumptions about the inadequacy of Russian Special Forces (Spetsnaz) from
most commentators revealed a sickening superiority and deep hypocrisy about
how to “correctly” handle terrorism. (19)
The BBC surpassed itself in terms of tasteless timing with the launch of
a new series, two days after the horrific conclusion to the siege, called
‘Crisis Command : Could You Run The Country?’ where unqualified
“contestants” from the public are placed in ministerial roles
as disaster unfolds in “realtime”. Haplessly wet liberals are
joined by murderous sadists in making impossible decisions, such as the
number of people who can justifiably be saved or shot in the event of widespread
panic, or worse. “Professionals” are kept on hand to prod consciences
lest anyone makes drastic choices too eagerly, and the momentum of the escalating
misery is sustained with regular, simulated news bulletins. Luckily, this
anchors the connection between the “ministers” and their population,
intensifying the agony of treating them as statistics and insinuating that
real emergencies on this scale can be negotiated properly with the help
of the media.
The ongoing spate of apocalyptic docudramas and reality disaster shows only really serve to assist the maintenance of a culture of pessimism, and at the very least have the effect of annihilating the viewer’s confidence in the emergency services when faced with a serious national catastrophe. The government are probably quite happy, as we citizens should also be, that perhaps the main truth to be retrieved from these exercises in speculative scaremongering is that if in doubt, the army will shoot or quarantine us, if they have time to do so. Contingency planning is a tricky thing, of course, so we might also have to expect a few failures in the communication chain before we get those Iodine tablets; it really just depends which way the wind blows, and we might all be mercifully wiped out in an instant by that pesky errant asteroid anyway.
“One thinks it's a rope because he has the tail, one thinks it's a tree because he can feel the legs, one thinks it's a wall because he can feel the side of it, and nobody actually has the big picture. You can't really get to the answer, because there isn't one.” (Gus Van Sant)
A tragedy captured on
film and broadcast live quickly achieves a critical density of interest
and starts to assume mythic proportions, fed by a legion of voyeurs intent
on finding reasons and answers even before the events reach their conclusion.
Nature abhors a vacuum, and the slow filling of an infinite void with fragile,
transient data continues in earnest. Preserved in a variety of formats and
accessible to anyone with an internet connection, aggregate documentary
evidence is cast into a virtual orbit, information waiting for a chance
trajectory to unite with any preconditioned mind gagging to absorb it. The
computer, as extension of the will, forms part of a composite being who
is both empowered and restricted by technological parameters, and who, even
when employing finely honed criteria on a search engine, will easily unleash
a proliferating tirade of competing discourses and become engaged in a process
of incessant recontextualisation. (20)
it would be fair to
suggest that truth will continue to be distorted by every faction with any
interest in maintaining the current climate of fear. If there is anything
worse than a terrorist desperate for martyrdom or a president with a belief
in the Second Coming, it is that both will have a sound working knowledge
of how the media shapes public opinion. The siege at the school in Beslan
in 2004 serves as both a terrible reminder of the lengths to which fanatics
will go to achieve publicity, and also of the corresponding
LUCAS THORPE is an artist / photographer based in NYC. He has studied Fine Art in Albuqerque /New Mexico and Glasgow /Scotland. He has shown most recently at the Sara Nightingale Gallery / Water Mill, (NY) and the Jen Bekman Gallery (NYC). www.lucasthorpe.com
DREGHORN is Tony Swain (Hassle hound), Chris Wallace (Cylinder) and Torsten Lauschmann (Slender Whiteman). The Band was formed in Autumn of 2005.
SLATEFORD are Simon Yuill (Scotland) and Tryggve Askildsen (Norway), www.slateford.org
LAWRENCE
LESSIG is a Professor of Law at Stanford Law School and founder of the school's
Center for Internet and Society.Professor Lessig is the author of Free Culture
(2004). To see other publications visit
www.lessig.org
NICHOLAS
KEOGH is from Rostrevor and PADDY BLOOMER is from Banbridge, both in County
Down Northern Ireland and are based at the Lawrence Street Workshops Belfast.
They have been collaborating since 1999.
To date they have worked underground overground, up trees down trees, on cliffs
in cliffs, in mountains on mountains, around ëUí bends, down alleyways,
in sewers-canals, bins-drains, culverts-dumps and holes of all description.
PAULINE KRANEIS is an artist based in Berlin. She has studied in Berlin and Glasgow. She is represented by Galerie M+R Fricke Düsseldorf/Berlin. www.paulinekraneis.de
THE GYMSHORTS is a music project by Lorna Gilfedder (Park Attack) with Tom Crossley. Formed in Autumn 2005, The Gymshorts play simple songs of heartache and heartmake. www.thegymshorts.co.uk
HEATHER ALLAN is an artist and horse breeder. She lives and works in Belfast.
CATHY WILKES is an artist based in Glasgow / Scotland. She is represented by The Modern Institute.
DUNCAN MARQUISS grew up in Aberdeenshire in the North East of Scotland. He lives and works in Glasgow. Duncan works with drawing, video and music. He plays guitar in two bands; Omnivore Demon and Phantom Band, he also makes and performs music by himself.
CHRIS
BYRNE is an artist, curator and lecturer based in Edinburgh. He
is Co-director of Art Research Communication. www.a-r-c.org.uk
GUY VEALE is an amateur living in Glasgow since 1992, currently working as a librarian but dabbling in photography, music, literature, bad art and international cultural exchange projects.
TORSTEN LAUSCHMANN is an artist based in Glasgow. He is currently teaching Fine Art at Dundee University. He is the is a member of the band "Dreghorn" and the editor of this magazine.www.lauschmann.com
CHRIS EVANS is an artist based in Berlin & London. He has exhibited work at the British Art Show and is currently arranging for national police forces to go on a recruiting run at European art colleges. He is represented by STORE, London & Galerie Juliette Jongma, Amsterdam. www.chrisevans.info
CORKY is Stewart Clelland. He is an Art, Philosophy and Contemporary Practice Student at Duncan of Jordanstone University, Dundee. He has been playing in several Bands and music projects.
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