<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">
<span class="Apple-style-span" style="font-family: arial, sans-serif; font-size: 13px; border-collapse: collapse; ">DATA browser 04.<br><br>Creating Insecurity: art and culture in the age of security edited by<br>Wolfgang Sützl & Geoff Cox<br> <br>contributors:<br>Giorgio Agamben | Konrad Becker | Bureau of Inverse Technology | Geoff<br>Cox | Florian Cramer | glorious ninth | Brian Holmes | carlos<br>katastrofsky | Martin Knahl | Norbert Koppensteiner | Daniela Ingruber |<br> The Institute for Applied Autonomy | Naeem Mohaiemen | Mukul Patel |<br>Luis Silva | Wolfgang Sützl | Tiziana Terranova | McKenzie Wark<br><br>'Today we are facing extreme and most dangerous developments in the<br>thought of security. In the course of a gradual neutralisation of<br> politics and the progressive surrender of traditional tasks of the<br>state, security imposes itself as the basic principle of state activity.<br>What used to be one among several decisive measures of public<br>administration until the first half of the twentieth century, now<br> becomes the sole criterion of political legitimation. The thought of<br>security entails an essential risk. A state which has security as its<br>sole task and source of legitimacy is a fragile organism; it can always<br>be provoked by terrorism to become itself terrorist.'<br> <br>Following the words of Giorgio Agamben (from his 2001 article 'On<br>Security and Terror'), security has become the basic principle of<br>international politics after 9/11, and the 'sole criterion of political<br> legitimation'. But security – reducing plural, spontaneous and<br>surprising phenomena to a level of calculability – also seems to operate<br>against a political legitimacy based on possibilities of dissent, and<br>stands in clear opposition to artistic creativity. Being uncalculable by<br> nature, art is often incompatible with the demands of security and<br>consequently viewed as a 'risk', leading to the arrest of artists, and a<br>neutralisation of innovative environments for the sake of security.<br> <br>Yet precisely the position of art outside the calculable seems to bring<br>about a new politicisation of art, and some speak of art as 'politics by<br>other means'. Has art become the last remaining enclave of a critique of<br> violence? Yet how 'risky' can art be?<br><br><a href="http://www.data-browser.net/04/" target="_blank" style="color: rgb(7, 77, 143); ">http://www.data-browser.net/04/</a></span></body></html>