Manifestos have resurfaced as fuel for firing political imaginations and calling people to action in a threatening time. But what can they really accomplish? A rethinking of the limitations of manifestos—their panic-driven contexts, their emphasis on collectivities rather than individuals, the vagueness and combativeness of their language—suggests that there may be other more fruitful ways of instilling care of and for language in everyday life and politics. With due deference to Orwell for his focus on the political dangers of not caring for language, we posit that his prescriptions can also inhibit our abilities to communicate in productive ways, across disparate communities that might stand to gain from breaking out of strictures on political language and expression. Inspired by Arendt’s call to “think what we are doing,” we propose as a starting point a language charter that will make language everyone’s business.
Keyword: manifesto
Manifestos, an Introduction
Because the manifesto was written to spark a dialogue rather than advance a particular program, we have chosen to present it here as part of a dossier of interrelated documents produced by youth-oriented communities struggling against global systems of exploitation and oppression. Whether produced in the barricades of Río Piedras or the reclaimed streets of Cairo, these calls to action and understanding critique intersecting systems of exploitation and gesture to points of solidarity and coalition-formation. In doing so, they open up spaces for imagining new futures and they create the conditions in which such a future may indeed come to pass.
Urban Interventions / Intervenzione Urbane
Urban Interventions is a series of collages by Alexander Dellantonio that take the urban terrain with its rapid changes as the matrix of inquiry, presenting the artists reflections on the city. The strong colours used by the artist echo the city’s images, places, people and situations and tattered billboard posters and manifestos torn off the buildings the militants fly-posted them on are reassembled to show the city and its inhabitants in movement. Dellantonio appropriates parts of the city and seeks to return them to the spectator. In so doing, these works not only engage the urban terrain as a space of politics, they also raise questions about mediation in the context of the current crisis of political representation that is being expressed by movements across the world, whether for example in Tahrir or Syntagma Square, at Occupy Wall Street or during the public sector strikes in the UK.