Books

The Art of Free Cooperation by

H. V. Cramond

The cynic in me desperately wants to make fun of this book. Can someone throw out the word “utopia” again?


The Art of Free Cooperation

Publisher: Institute for Distributed Creativity
ISBN: 1570271771
Contributors: Geert Lovink and Trebor Schulz, Editors
Price: $19.95
Length: 208
Formats: Paperback
US publication date: 2007-10
Amazon

I admit it; I'm a cynic. I assume that the other drivers are angry or not paying attention. I don't leave anything other than my coffee on the table when I go to the bathroom at coffee shops. I wear thick enough boots to walk in the muck because that stroller mom is certainly not going to yield any sidewalk to me. Most people, I assume, are oblivious to the existence, or at least the shared humanity of others.

Because I'm right 90 percent of the time, it's delightful when someone proves me wrong. For example, my neighbors, who are incapable of responding to greetings and making eye contact, regularly deliver my misdirected mail, including The Art of Free Cooperation, which I found in a K-mart bag on my apartment door. It's us against the Post Office, after all.

But who could blame the postal carrier? Chicago's weather is brutal nine months out of the year, and the postal worker's only human contact usually involves crazy people who want 13 stamps instead of 20. I can't say I would have a penchant for accuracy in that case. I mention this because it's one of those delightful surprises when an antisocial neighbor will act just because it's the right thing to do, while the paid worker let it slide.

The reason, of course, is that we all would like to believe we are masters of our own destinies that, if given the chance to decide, we would take care of each other. No one wants to be bossed around; yet, for most of us, that's the day-to-day situation. We are compelled to do things to earn the wages we need to live. According to the contributors to The Art of Free Cooperation, we are in a situation of forced cooperation.

The text comprises a paperback book, a DVD, and a chart of the technologies of free cooperation. These documents were edited by and born out of a conference organized by Geert Lovink and Trebor Schulz at the State University of New York in Buffalo. According to these organizers, we are all familiar with forced cooperation. There is a system of sacred rules that cannot be tampered with by group members, forward progress must not be stopped, and you must either cooperate or suffer consequences.

So if your boss has a terrible policy, you can’t question it or stop working on your widget to deal with it, and if you decide to leave the company, your boss still has his job and position of power and you have nothing. So you cooperate. Lovink, Trebor, and their collaborators set out to find out what free cooperation would look like.

Several issues complicate their theories. In Lovink and Trebor's formulation, for cooperation to be free, all those cooperating must be able to leave the work scenario, above, with equal consequences for all group members; the group cannot be left with all the resources while the worker is left with nothing. So to start with, free cooperation needs to be completely divorced from money. One cannot cooperate freely if one needs the wages. So what is at stake if you're not doing the work to earn money? What would work done freely look like?

DVD interviews with conference participants showed drastically different ideas. One woman described something like a rave: ecstatic dancing, she said, followed a long day of intellectual stimulation. Another said that "free" meant absolutely no limits, which meant the project had no value. If there's nothing at stake and no limit, what can be gained?

The other issue that most contributors agreed upon was that free cooperation could not exist, or at least would be challenging to implement under current government philosophies, including capitalism and what they called really-existing communism. In both systems, wealth is supposed to be evenly distributed (especially in communism at its ideal). But we all know that in both capitalism and communism as they are practiced, money winds up in the hands of wealthy elites, and the rest of us are compelled to work for a living.

As I mentioned earlier, cooperation, the decision to work with others, can never be a "free" decision so long as work is attached to wages. So in order for this system to work, you have to slowly dismantle the old boys clubs that control resources and make sure that everyone has a fixed income so that they can focus on doing real and meaningful work instead of holding down multiple "McJobs" just to make ends meet. The cynic in me desperately wants to make fun of this book. Can someone throw out the word “utopia” again?

But, the contributors do have a point. The input of many voices, and the co-requisite conflict, ultimately yields a richer product in many ventures. Case in point: the collaborative DVD that was included with this book. The interviews and much of the conference material was so terribly boring that I had to hold my eyelids up with my fingers – a lot of black turtlenecks and nary a public speaking class in sight.

However, it also included a short film explaining the relationship between that ancient, powerful monster, "cooperation", and the rule of cities that try to contain it. I won’t spoil it for you, but the old science fiction footage it uses is awesome. Similarly, the first essay in the book is one of the worst. Start with the monster video, skip to Christopher Spehr’s essay, then go back to watch and read the other material. I wouldn’t have gotten through either first point of contact if I wasn’t obliged, but once I got to the good stuff, I was able to see the drier material in a more positive and productive light.

Lovink and Trebor, et. al., provide nothing less than a new ideology, a roadmap for a different way of working with other people that can be applied to any mode of production, from art-making to government. But are any of us brave enough to try it?

6

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Features

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton



9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton



8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge



7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge



6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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