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\begin{document}

\hypertarget{what-is-urgent-publishing---request-for-comments-rfc-in-art-design-education}{%
\section{What is urgent publishing? - Request for Comments (RFC) in art
\& design
education}\label{what-is-urgent-publishing---request-for-comments-rfc-in-art-design-education}}

Florian Cramer, Willem de Kooning Academy Rotterdam

\hypertarget{abstract}{%
\subsection{Abstract}\label{abstract}}

Publishing is increasingly being challenged through instantaneous social
media publishing, even in the fields of scholarship and cultural,
philosophical and political debate. Memetic self-publishers such as the
right-wing ``YouTube intellectual'' Jordan Peterson and his left-wing
counterpart Natalie Wynn seem to tap into urgent needs that traditional
publishing fails to identify and address. Does their practice amount to
a new form of urgent publishing? How is it different from non-urgent
publishing on the one hand and from propaganda on the other hand? Which
urgencies can be addressed by urgent publishing? What is the role of
artists and designers in it?

Tags: publishing, social media, memetics, propaganda, urgency, art,
design

\hypertarget{publishing-as-propaganda}{%
\subsection{publishing as propaganda}\label{publishing-as-propaganda}}

To begin with an example: In 2020, the psychology professor and
political influencer Jordan Peterson had 3.2 million YouTube subscribers
and up to 6.9 million views for his individual videos.\footnote{According
  to the view numbers on (Peterson, 2020). More than 3 million copies of
  his self-help book \emph{12 Rules for Life} were sold, according to
  (Peterson, 2019).} Peterson's political message could be broadly
characterized as traditionalist conservatism that resorts to mythology
and its (controversial) use in C.G. Jung's early 20th century
psychology\footnote{I.e. Jungian archetypes; for a comprehensive
  critique of Jung, see (McGowan).} for backing up its opposition to
``political correctness'' and ``postmodernism'' (in Peterson's own
words), respectively to feminism and intersectional politics in more
general terms.\footnote{Intersectionality is a form of politics that
  considers racism, sexism, homophobia and other forms of discrimination
  and suppression not as being isolated from each other but as
  interrelated. The term was coined and explicated by (Crenshaw).} He
factually continues a discourse that begun in the late 1980s with Allan
Bloom's book \emph{The Closing of the American Mind: How Higher
Education Has Failed Democracy and Impoverished the Souls of Today's
Students}, using the same targets and similar arguments. However,
Peterson reaches a much wider audience than Bloom did. The \emph{New
York Times} even called him ``the most influential public intellectual
in the Western world right now''.\footnote{See (Brooks).} Peterson is
also popular among art school students who reject feminist, decolonial
and intersectional curricula. This has been epitomized in a meme created
by a teacher of Rotterdam's Willem de Kooning Academy in May 2020:

\begin{figure}
\centering
\includegraphics{pics/wdka_memes.jpg}
\caption{From the Instagram account \emph{wdka.teachermemes}}
\end{figure}

Both Peterson's YouTube videos and the meme reactions to them could be
characterized as forms, and ways, of publishing that meet existing
popular demand. On top of that, they are built on formats and networks
outside traditional publishing. Even if one doubts Peterson's
intellectual depth (since, for example, his take on Jacques Derrida's
deconstruction appears to be at best superficial, at worst not even
based on first-hand reading), he is - whether one likes it or not - the
first global YouTube `intellectual'; someone who rose to fame through
his self-produced YouTube videos, not print publications. Peterson's
YouTubing does not exist in isolation, but is part of a larger
``Alt-Right'' discourse and network that includes, among others, the
former \emph{VICE} journalist and founder of the militant right-wing
street fight organization Proud Boys, Gavin McInnes. (Among others,
Peterson appeared in 2016 in McInnes' YouTube talk show under the
headline ``Prof.~Jordan Peterson: `Bloody neo-Marxists have invaded the
campuses'\,''.\footnote{Source: (McInnes)}) Peterson's videos take up
central ``Alt-Right'' talking points such as the ``manosphere'' view of
traditional gender roles, the conspiracy narrative of ``cultural
marxism'' and the meme ``Pepe the Frog'', normalize them into mainstream
conservative discourse, and give his social media audience the feeling
that what they otherwise know only through trolling and meme subculture
is scholarly sanctioned.

\begin{figure}
\centering
\includegraphics{pics/peterson_pepe.png}
\caption{Jordan Peterson (in the middle)}
\end{figure}

Peterson's success factors can be summed up as follows:

\begin{enumerate}
\def\labelenumi{\arabic{enumi}.}
\tightlist
\item
  speed, thanks to the immediacy of YouTube as a publishing medium, in
  contrast to traditional publishing;
\item
  reach, thanks to the ubiquity of YouTube/the Internet;
\item
  tapping into existing subcultures and popular desires, discourses and
  concerns (as opposed to scholars, mainstream news media and
  traditional publishers who are not in touch with them);
\item
  partisanship; dividing the audience into either followers or
  adversaries;
\item
  meme-ability; where the quality of a statement lies less in its
  reasoning or consistency, but its potential of ``going viral''.
\end{enumerate}

\begin{figure}
\centering
\includegraphics{pics/contrapoints.png}
\caption{Natalie Wynn, ContraPoints, discussing Jordan Peterson}
\end{figure}

These success factors also apply to publishers in the opposite political
camp to Peterson, such as the transgender YouTuber Natalie Wynn who
posts her lavishly and elaborately produced videos on issues such as
``Cancel Culture'', gender, and Peterson himself, on her channel
\emph{ContraPoints} where they have up to 3.8 Million views.\footnote{According
  to the view numbers on (Wynn).}

Do the above five points - speed, reach, tapping into existing
subcultures, partisanship, meme-ability - amount to criteria, or even a
definition, of urgent publishing?

A historical side note: In all these five points, Peterson follows the
footsteps of an other Canadian scholar and political conservative,
Marshall McLuhan (only that McLuhan's electronic medium was television,
not the Internet).

A second note: All five points are typical characteristics of
propaganda; not only the political propaganda of totalitarian regimes,
but also, for example, anti-catholic propaganda in the European
reformation age and counter-reformation propaganda of the catholic
church. (Cross-reference to the previous note: not only was McLuhan a
devout catholic, his ``global village'' was a literal riff, via James
Joyce, on the pope's annual prayer ``urbi et orbi'' {[}``for the city
and the globe''{]}.) Even visual meme propaganda pre-existed in
reformation and counter-reformation propaganda emblems and flyposter
caricatures.

\begin{figure}
\centering
\includegraphics{pics/ego_sum_papa.jpg}
\caption{``I am the Pope'' - anti-catholic meme, 16th century}
\end{figure}

That the production of propaganda (or counter-propaganda) memes can be a
critical publishing practice, has been exemplified among others in
Berlin Dadaism and John Heartfield's photomontages of the 1920s:

\begin{figure}
\centering
\includegraphics{pics/heartfield-adolf_uebermensch.jpg}
\caption{John Heartfield, ``Adolf, the Übermensch - swallows gold and
talks garbage'', 1932}
\end{figure}

But ultimately, this discussion dates back to the
political-philosophical and ethical debate on the validity of rhetoric
(as a school of persuasion, seduction and propaganda) versus
logic/dialectics (as a school of finding the truth through sound
reasoning) that, in Western culture, had first been articulated by
Plato. In the \emph{Phaedrus}, he concludes that rhetoric can only be
justified when it is firmly based on dialectics; when, in other words,
it helps to make a logically sound argument more persuasive. Since Plato
articulated this position in the historical period of the decline of
Athenian democracy,\footnote{Leaving side the issue of Athenian
  democracy not being a democracy, but an oligarchy, by today's
  political standards.} it has gained new relevance in the present times
of globally surging fascist populisms. The dispute between dialectics
and rhetoric is now being re-enacted as a dispute between analytical
philosophy (which continues the position of logic being the only valid
form of argumentation) versus continental philosophy and critical theory
(which, in its deconstructionist and social-constructivist schools, has
rhetoric and subjective epistemology as its foundations). This extends
into an opposition of scientific research paper publishing versus
popular - and populist - visual culture and social media publishing.

This opposition is most clearly visible in the current societal debate
on the Covid-19 pandemic. The (often ``Alt Right''-affiliated) Covid-19
``skeptics'' alternatively claim that the virus is not real, that its
harmfulness is being exaggerated, that it can be better fought with
alternative remedies, and that both quarantine measures and vaccinations
are the product of a global conspiracy. Since rational scientific method
and logical argumentation seem to be the only way of countering these
positions, with rhetoric being - along the lines of Plato - used to
support them, the Covid-19 crisis forced continental philosophy and
critical theory to either align themselves with analytical and
scientific discourse, or to side - like (Agamben) - with the ``skeptic''
camp and thereby cast doubt on its soundness.

The corresponding question for artists, designers, cultural workers,
respectively producers of popular visual culture would be: Am I just
supposed to create ``good'' propaganda for knowledge and discourses in
whose development I wasn't involved (but which were created among others
by virologists and policymakers) in order to amplify, in line with
Plato, a given, sound logical argument with persuasive visual rhetoric?
Does urgency, and urgent publishing, exhaust itself in that, and thus
ultimately boil down to illustration? Will the art schools that educate
these visual culture workers and publishers just play their due role in
the Dutch higher vocational education (``HBO'') system where they are
supposed to (merely) receive research knowledge from traditional
universities and put it into practice, but be involved in developing
research knowledge themselves?

\hypertarget{rephrasing-the-issue}{%
\subsection{rephrasing the issue}\label{rephrasing-the-issue}}

To get out of this impasse, and out of being stuck in repeating Plato's
argument, it might help to flip the question of what urgent publishing
is: If urgent publishing differs from publishing in general, there must
also be non-urgent publishing. But what would be examples and a working
definition of non-urgent publishing? And could we use its
characteristics to define urgent publishing ex negativo?

The difficulty in answering these questions lies in the nature of
urgency: it is neither set in stone, nor universal. If one chooses, for
example, telephone books as a seemingly evident form of non-urgent
publishing, one would overlook the fact that a telephone book may be a
literal life-saver for a person in a particular situation (such as:
finding an emergency number while having no Internet access). Conversely
for visual culture producers, receiving a design commission for
telephone books may be of critical financial importance.

The non-urgency of a publication can perhaps best be defined as a
situation in which the urgency for the creator is not the same as for
the reader; where, in other words, no communal urgency defines a
publication and the act of publishing. A PhD thesis, for example, always
has individual urgency - that of gaining an academic title and
qualification -, but not necessarily communal urgency; i.e.~if the
urgency of the thesis exhausts itself in obtaining the title, but
otherwise it remains virtually ignored in some university archive. On
the other hand, a zine written out of personal urgency (such as, for
example, struggling with a queer coming-out) and published in an edition
of five copies, with the hope of finding only one person who shares the
publisher's feelings, is defined by communal urgency.

In art and research publishing, most forms of ritualistic publishing are
non-urgent in the above sense: While they are urgent for individuals or
a project group to retroactively legitimize their work, that urgency is
rarely communal in the sense of being shared outside their own project.
Publications that are made out of institutional logic and legitimation,
but for which there is no wider community urgency, include the majority
of catalogs, research papers, conference proceedings, academic journals
that primarily serve scholars' needs to meet ranking and evaluation
criteria; as well as showcase, prestige and other p.r. publications, no
matter whether these are books, periodicals, blogs, podcasts or YouTube
videos.

In unsubsidized commercial publishing, any book or periodical that is
primarily a coffee table publication, or any other publication to be
shelved away after at best superficial reading, is by definition
non-urgent. While non-urgent publications of any kind may still gain
urgency in future contexts and circumstances, they were in most cases
not developed from and with a larger community and its self-defined
urgent issues and articulations.

Therefore, successful propaganda is always urgent publishing; but not
all forms of urgent publishing are propaganda.

When revisiting the previous five criteria of speed, reach, tapping into
existing subcultures, partisanship and meme-ability with a focus on
communal urgency, the picture - and definitions - become more nuanced:

\begin{enumerate}
\def\labelenumi{\arabic{enumi}.}
\item
  while urgency always somehow implies speed or at least timeliness, the
  corresponding criterion for communal urgency cannot be quantitative
  but needs to be qualitatively measured (and could, in some cases and
  situations, even entail intentional slowdown and delay): in other
  words, the criterion is \emph{responsiveness} rather than merely
  speed;
\item
  likewise, reach needs to be a qualitative rather than quantitative,
  criterion when applied to communal urgency, in the sense of a
  publication (or an act of publishing) that actually reaches the
  community for which it is meaningful;
\item
  instead of merely tapping into existing subcultures and their desires,
  the publication and the act of publishing emerges from communities and
  their needs;
\item
  while partisanship is not necessarily the criterion or intended effect
  of a publication in its intended community - or, put differently:
  reaching a community does not needs to mean to alienate others -, but
  \emph{identification} remains crucial;
\item
  meme-ability, while being helpful as urgency metrics, depends on the
  particular community and discourse for which the act of publishing and
  the publication is meant; while a meme that goes viral is urgent
  publishing by definition, not all forms and acts of urgent publishing
  are viral memes; but at least they spread `peer-to-peer' within their
  communities.\footnote{A good example being \emph{El Paquete} in Cuba,
    a 1TB hard drive of popular movies, tv shows and music that is
    updated every week and gets copied and distributed across Cuba,
    because of the absence of broadband Internet.}
\end{enumerate}

To avoid misunderstandings: These five modified criteria do \emph{not}
amount to criteria of ethically ``good'' communal urgent publishing
versus ``bad'' propaganda publishing. For example, both Jordan
Peterson's and Natalie Wynn's/ContraPoints' YouTube videos do not only
fulfill the five criteria of propagandistic urgent publishing, but also
those of communal urgent publishing through their combination of
propaganda-style meme tactics and psychological self-help. Even a crass
Neonazi propaganda website like \emph{The Daily Stormer} ticks all the
above boxes, which may explain why it has been more successful than more
traditional Neonazi websites; the same of course is true for imageboards
like \emph{4chan} and \emph{8chan}/\emph{8kun} and the ``QAnon''
conspiracy myth that emerged on them.\footnote{Covered in more detail in
  (Cramer, Wu Ming 1).} All these examples fulfill all five criteria of
propaganda urgent publishing as well at least two of the five criteria
of communal urgent publishing; or, more precisely, they work as
propaganda catalysts for communities which further elaborate those
stories, visuals and memes in communal acts of urgent publishing.

\hypertarget{the-larger-picture}{%
\subsection{the larger picture}\label{the-larger-picture}}

In all above examples, the notion and definition of ``publishing'' was
kept deliberately broad. This is, in my opinion, necessary for opening
up space for radical imaginations and re-imaginations of publishing, in
times of fundamental changes in media, communication and visual culture;
re-imaginations in which artists and designers need to play a role. The
urgent publishing of the Berlin Dadaists broke with fine art and
materially engaged with the urgent publishing media of their time -
newspapers which in the 1920s often appeared with three issues per day
-, re-imagining these both in form and content. ContraPoints is doing
(structurally) the same with today's YouTube propaganda.

Publishing then includes any act of making something public - including
street interventions and performances and low-resolution meme images for
example -,\footnote{For an early reflection on the digital ``poor
  image'' as visual culture production, see (Steyerl).} but one that in
most cases travels over a distance and can be archived. Aside from these
technical characteristics, publishing has informational and educational
aspects. This includes the use of Internet meme images and YouTube
videos as educational resources for self-study,\footnote{Years ago, a
  theory curriculum coordinator of a Dutch art school told me that she
  prefers learning cultural theory from YouTube videos to reading books.}
which explains Jordan Peterson's and Natalie Wynn's respective success.
Major intellectuals and philosophers of the 20th century, including
Walter Benjamin and Hannah Arendt, mainly published in journalistic
periodicals after their academic careers had been cut off, which was
unfortunate for them personally but not for their readership and for the
public role of the humanities. Other philosophers (from Adorno and
Heidegger to Slavoj Žižek and Judith Butler) followed suit by lecturing
on radio and television and publishing in newspapers, but to date have
remained stuck in these classical editorial mass media.

An early example of memetic urgent propaganda publishing were the
controversial ``Zeitgeist'' videos published on YouTube from 2007 to
2011 by the designer and activist Peter Joseph. Originally produced in
close neighborhood to \emph{Infowars} of the later Alt-Right personality
Alex Jones, they spun a conspiracy narrative and ``post-scarcity''
economic vision that instigated a homonymous ``Zeitgeist movement''. In
2011 and 2012, \emph{Zeitgeist} activists played central roles in the
\emph{Occupy} movement both in New York and in Europe. \emph{Zeitgeist}
may therefore be called an early (or perhaps even the first) example of
Internet-based theory construction in which memetics and viral success
acted as editorial filters and thus replaced peer review.

This form of urgent publishing has created a problem for academics,
artists, designers and journalists who have not been educated or trained
in this system and logic, but in peer reviews, group critiques,
editorial boards and institutional curatorship. The political takeaway
of the 2016 Trump elections, that ``the left can't meme'', at that time
could be rephrased as ``artists, designers and academics can't meme''.
Both are no longer true if one looks at contemporary political activism
- with \emph{ContraPoints} just being one example - or, in the
Netherlands, at the anonymous meme accounts run by students and teachers
of particular art schools such as ``wdkamemes'' and
``wdka.teachermemes'' for WdKA Rotterdam (the first picture in this
article was taken from the latter) and ``kabkmemes'' for the KABK Den
Haag.

The examples and definitions of urgency I used to this point included
societal and political urgency, personal urgency and (in the case of
\emph{Zeitgeist} and \emph{Occupy}) economic urgency; but they should
also include - among others - aesthetic urgency (for which tattoo
culture is a good example of an urgent publishing practice) and
technological urgency (with, among others, Free/Open Source software as
a form of urgent publishing).

\begin{figure}
\centering
\includegraphics{pics/thuisprikkers.jpg}
\caption{Still from René van Zundert's documentary \emph{Thuisprikkers}
(``Home Tattooers'') showing a self-taught, unlicensed discount tattoo
artist running his home studio in Rotterdam's Tarwewijk}
\end{figure}

In both arts and design and in academic research, there is a lack of
courage for \emph{not} doing something because it either lacks urgency
or addresses it in the wrong way. A good example for such courage is, in
my opinion, the 2012 social design project ``WIJkonomie'' (a pun on
``we-conomy'' and ``neighborhood economy'') in Rotterdam's poor
neighborhood Tarwewijk. The architects Theo Deutinger, Stefanos
Filippas, Elisa Mante and Ana Rita Marques had been hired to improve
local conditions, but gave up after having researched the area:

\begin{quote}
"Four architects spending two months of thinking about Tarwewijk and
spending three weeks physically in Tarwewijk does not make any
difference. The people of Tarwewijk have a lot of people like us seen
come and go. Well educated groups with high flying plans, spreading hope
for a prosperous future. When they are gone, live in Tarwewijk is more
miserable than before. All expectations and trust by the people of
Tarwewijk did disappear with the people foreign to the place.

Tarwewijk does not need us to know what to do; Tarwewijk knows exactly
what to do. Do it yourself Tarwewijk! We propose a project stop, a
concept stop and a subsidy stop for initiatives from outside of
Tarwewijk. The people of Tarwewijk know how to do things; they know how
to start a business, they know how to work around regulations. We trust
in the power of the people in Tarwewijk".\footnote{Quoted from
  (Deutinger).}
\end{quote}

This example shows how urgency, and one's true capability of living up
to it, is an important self-evaluation criterion. For less experienced
people, however, it could also be suffocating. Art and design educators
are faced with the dilemma that they want and need to foster urgent work
(as opposed to art and design that is, for example, just complacent and
decorative), but at the same time need to give room, especially in
undergraduate education, for ``pre-urgency'': the opportunity for
students the opportunity to develop their voice and experiment without
urgency as a hard requirement. Correspondingly, there can be
``post-urgency'' in works of artists and designers. Examples could
include Andy Warhol, who - after enabling a queer and underground
community in his Factory period and surviving Valerie Solanas' gun
assault - became a high-society artist who factually printed his
celebrity portraits as money; or Nam June Paik, who resorted, after
having radically deconstructed and re-imagined electronic mass media in
the 1960s and 1970s, to building decorative video sculptures which
allowed him a better lifestyle than the unheated lofts that had ruined
his health.

The crisis of traditional publishing and media industries may be
explained with the high amount of non-urgent publishing it involves
while urgent publishing conversely moved on to other channels (including
memes, YouTube, zines). And, to clarify again, ``urgent publishing'' by
itself does not say anything about the quality let alone the ethics of a
publication or act of publishing, but it only describes its
performativity.\footnote{Or, to borrow from Peirce via (Diederichsen)'s
  theory of ``post-popular arts'', its indexicality.} The subject
matters and visual-cultural language of YouTube ``truthers'', Covid-19
deniers and trolls of any kind are urgent, otherwise they would not find
their audiences - and would the subscriber numbers of even semi-obscure
YouTubers not exceed those of large newspapers by the factor of ten and
more.

When I moved to the Netherlands in 2006, before the financial crisis and
the slashing of Dutch public art funding, I subjectively experienced
most contemporary Dutch art - particularly what could be seen at art
schools graduation shows - as lacking urgency and tending to be visually
decorative.\footnote{On the popular contemporary Dutch art blog
  (trendbeheer), many examples of such art can still be found.} The
unfortunate and perhaps perverse logic of social, economic and political
crisis and divides is that they re-instill urgency into arts and
publishing practices, as the aforementioned examples from the Weimar
Republic to Trumpist America demonstrate. In these times, the criteria I
proposed for a working definition of urgent publishing - responsiveness,
reaching intended communities, emerging from communities and their
needs, fostering identification, and (to some extent) spreading virally
- will hopefully become subject to discussions, critique, improvement
and alternatives.

\hypertarget{references}{%
\section{References}\label{references}}

Agamben, Giorgio. ``L'invenzione di un'epidemia.'' \emph{Quodlibet},
2020,
https://www.quodlibet.it/giorgio-agamben-l-invenzione-di-un-epidemia.
Accessed 17 Nov.~2020.

Bloom, Allan. \emph{The Closing of the American Mind: How Higher
Education Has Failed Democracy and Impoverished the Souls of Today's
Students}. Penguin Books, 1988.

Brooks, David. ``Opinion: The Jordan Peterson Moment.'' \emph{The New
York Times}, 26 Jan.~2018. NYTimes.com,
https://www.nytimes.com/2018/01/25/opinion/jordan-peterson-moment.html.
Accessed 17 Nov.~2020.

Cramer, Florian, and Wu Ming 1. ``Blank Space QAnon. On the Success of a
Conspiracy Fantasy as a Collective Text Interpretation Game.'' GIAP,
Nov.~2020, https://www.wumingfoundation.com/giap/blank-space-qanon/.

Crenshaw, Kimberlé. \emph{On Intersectionality: Essential Writings}. The
New Press, 2019.

Deutinger, Theo. ``We Don't Trust You Architects - Review on the
WIJkonomie Project for Tarwewijk in Rotterdam.'' \emph{TD Architects},
http://td-architects.eu/. Accessed 17 Nov.~2020.

Diederichsen, Diedrich. \emph{Körpertreffer: Zur Ästhetik der
nachpopulären Künste}. Suhrkamp Verlag, 2017.

McGowan, Don. \emph{What Is Wrong with Jung?} Prometheus, 1994.

McInnes, Gavin. ``Rebel News. Prof.~Jordan Peterson: `Bloody
Neo-Marxists Have Invaded the Campuses'\,''. 2016. \emph{YouTube},
https://www.youtube.com/watch?v=X\_Kfm\_qWpN0. Accessed 17 Nov.~2020.

Peterson, Jordan B. \emph{Jordan B Peterson - YouTube}.
https://www.youtube.com/channel/UCL\_f53ZEJxp8TtlOkHwMV9Q. Accessed 17
Nov.~2020.

Peterson, Jordan, ``Q \& A 2019 01 January''. 2019. \emph{YouTube},
https://www.youtube.com/watch?v=mXPmLZRAPSo. Accessed 17 Nov.~2020.

Steyerl, Hito. ``In Defense of the Poor Image.'' \emph{E-Flux Journal},
vol.~10, Nov.~2009,
https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/.

``Trendbeheer''. Trendbeheer.com, 2020, https://trendbeheer.com/.

Van Zundert, René. \emph{Thuisprikkers}. \emph{VICE}, 2012,
https://www.vice.com/nl/article/ppjv5n/thuisprikkers. Accessed 17
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