“We play the lyre on all its strings: from violence to religion, from art to politics.”
- Benito Mussolini, 1932, from MOMA’s Chaos and Classicism show
Author Archives: Stephen Duncombe
Mussolini on Total Politics
Art as Terrorism — Antanas Mockus
Antanas Mockus, was a mayor of Bogota Columbia who used innovative, creative methods to build civil society. The following is from an interview between Mockus and Pedro Reyes (From Marisa’ Jahn’s Byproduct)
PR: How do you imagine the role of the artist as social agent?
AM: I think one could veery convincingly put forward: “Commit art, not terrorism.” Art is capable of producing commotions on par with a terrorist act, installing itself in the people’s memory and imagination. Art is a route, more laborious, but a route nonetheless.
….
Almost every form of violence has a symbolic component, since the perpetrators strive to stir emotions in order to produce meaning. You can achieve the same result without causing physical harm.
BJ Fogg’s Behavior Model
What Causes Behavior Change?
My Behavior Model shows that three elements must converge at the same moment for a behavior to occur: Motivation, Ability, and Trigger. When a behavior does not occur, at least one of those three elements is missing.

Charting Creativity: Neurologically
Charting Creativity: Signposts of a Hazy Territory
NY Times, Patricia Cohen, May 7, 2010
Grab a timer and set it for one minute. Now list as many creative uses for a brick as you can imagine. Go.
The question is part of a classic test for creativity, a quality that scientists are trying for the first time to track in the brain.
They hope to figure out precisely which biochemicals, electrical impulses and regions were used when, say, Picasso painted “Guernica,” or Louise Nevelson assembled her wooden sculptures. Using M.R.I. technology, researchers are monitoring what goes on inside a person’s brain while he or she engages in a creative task.
Art Power
Boris Guys, Art Power (MIT Press: 2008)
“Art becomes politically effective only when it is made outside the art market — in the context of direct political propaganda.” [7]
“Of course, one can easily argue that such propaganda art is simply political design- and image-making….They are making advertisements for a certain ideological goal — and they subordinate their art to this goal. Bt what is, actually, this goal itself? Every ideology is based on a “vision,” on a certain image of he future — be it an image of paradise, Communist society, or permanent revolution. And this is what signals the fundamental difference between market commodities and political propaganda. The market operates by an “invisible hand,” it is merely a dark suspicion; it circulates images, but does not have its own image. By contrast, the power of an ideology is always ultimately the power of a vision. And this means that by serving any political or religious ideology an artist ultimately serves art. That is why an artist can also challenge a regime based on an ideological vision in a much more effective way than he or she can challenge the art market. An artist operates on the same territory as ideology.” [7,8 emphasis mine]
“At the same time, the artwork remains under the ideological regime a paradox-object. That is, every ideological vision is only a promised image — an image of what is to come….Thus all ideologically motivated art necessarily breaks with this politics of deferral, because art is always made here and now.” [8]
Why Metrics Are Killing Creativity in Advertising
“Thing is, you cannot truly quantify creativity. And in ever-increasing fashion, our clients’ (and our own) rote dependence on the dusty world of metrics is exactly why creativity is going to hell. When marketing decisions are based on numbers, we lose completely the desire to “waste” time being creative. And heaven forbid we ever again just go with our gut feelings. Of course, I’m in no way advocating the death of metrics, just a different approach with creativity as the vanguard” — Patrick Sarkissian, AdAge, March 4 2010