Photo Diary of a Revolution
These images represent
the distribution of information in and to multiple means and
ends. Many of these images show the joy of expression in the
often face of great risk and oppression. Micro examples of a
strategic macro swarm of expression at mass mobilizations.
The fact that I share these images now with you is to speak
on behalf of the effect these images had on my source of inspiration
to make media, and I distribute it by acknowledging where and
how I saw these images. They were all passed to me by a movement
of individuals who are committed to the same distribution of
information as its own expression and protest to which I too
am committed. When you step into the street and tell your story,
pick up your camera or your pen, you will make new waves of
expression. Becoming media. Effecting change. Telling our story,
writing our history.
The revolution will be televised. It will be on-line, on
the airwaves and in print. But it will not be produced by them.
It will be produced by us. The first rule is the one on the
doors of the Indy Media Center: Dont hate the media, become
We will change the rules. When everyone is the
media , then the whole world is always watching. In 100 years
we will look back and scoff at the idea that only those with
special training could work for the media. The concept will
be preposterous, in-league with the idea that only rich men
with property can vote.
FTAA Diary- www.geocities.com/ftaadiary
E and cops
democratic national convention, chigaco, 1996
Countermedia cameraman arrested at a clinic defense
Countermedia was a predecessor to Indymedia, offering a grassroots
media perspective on the events that transpired in chicago on
the internet. An important difference between the two was that
countermedia allowed journalists to come in off the street to
post their stories and pictures, but did not have a system of
open publishing from a distance. Open publishing is the keystone
of the success of Indymedia.
This picture was my first real exposure to the passion of making
media. Driving a large truck across the plains and deserts and
by the ocean, we dropped in on the republican national convention
in san diego; Crazy empty protest zone, walked with a camera
and thought, lets check out the front, where the delegates entered
under a bigtop maze of steel fencing.
Nothing was going on. A man with
noisy, tattooed baby doll walked by and we talked with him about
the convention, he said he had some puppets in the car. Okay,
we collect the puppets and alt. noise contraptions from the
trunk of his car. We put the camera away. Go back to the front
and with drums and absurdist chants we began the road-kill puppet
show. Engaging the approaching visitors with questions and gothic
dancing puppets. Intrigued they move in to get a closer look,
then recoil from the angel made of pigeon wings, "young republicans
for a new police state".
We decide to pack up after an hour or so, just as the police
are coming up, we thank the officer, pose with him for a smiling
picture and leave. Pick up some boots and a sedan and head back
across the desert, with william burroughs as the exterminating
angel. We part ways at the mississippi, and you go on to the
windy city to meet the democrats. I stay tuned to counter media
to contract your plague of information. The virus inserts- a
few days later this picture comes in the email. Like a visceral
composure the image became part of my mimetic vocabulary. I
saw the interest of the repressive state apparatus in keeping
your virus away from others like me. And I knew, the truth was
out there. We would bring it home, and send it out in canning
jars full of images.
The cinema of the revolution is at the same time one of deconstruction
and construction: deconstruction of the image that neocolonialism
has created of itself and of us, and construction of a throbbing,
living reality that recaptures truth in any of its expressions.
The restitution of things to their real place and meaning is
an eminently subversive fact both in the neocolonial situation
and in the consumer societies.
-Solanas and Getino; Towards a Third Cinema
Combustion Symposium, Ypsilanti MI-1997
Pyrotechnic artist steven rife dances with an element, lighting
the heavens with steel wool.
Now is the time of furnaces and only light should be seen
Sat red girl
This photo is from the A-16 demonstrations against the imf and
world bank in washington dc, 1999.
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