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MTK The Writist

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MTK The Writist

Category Archives: Commentary

Pluralism of Media in the Age of Surveillance

24 Thursday Feb 2005

Posted by mtk in beliefs, Commentary, Los Angeles, protest, talks

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Agit-Prop to Info-Prop; Culture Jamming, Alternative Media, Activism and the monolithic corporate-controlled US American Media

performance lecture at C-Level in Chinatown

02/24/2005

M.T. Karthik

Good Evening and Thanks for coming out.

Thanks to Michael Wilson who quickly put this together upon realizing that I am leaving the U.S. – due here next week, really – and for recognizing that this departure may be permanent … and for having the appreciation for my work to see that a presentation like this might be useful … for myself as an organizational mechanism and – perhaps, if we are lucky – for you, gathered here tonight to consider the material.

I’m a writer, a book and performance artist and a member of the Booklyn Artists Alliance [you can see our work at www.booklyn.org] there’s a decent bio there and though the list of works, exhibitions and performances is a little stale, some colophons of books I have finished in recent years and links to work in progress can be found by navigating to the Artists page and clicking my name, M.T. Karthik.

One of my most recent public projects was to function as News Director at Pacifica Station KPFK 90.7fm here in Los Angeles from 2003 to 2004 and to produce and direct coverage of the 2004 Election.

I want to frame things a little because this talk is really a companion to two other formal talks I have done since the election –

one immediately afterward … on that Thursday after the Election, 4 November 2004, when the Kerry concession was just 36 hours old, at a panel at Cal-Arts.

I was invited by the artist Mariana Botey and in my presentation, I promoted the idea of rejecting the concession as meaningless to the outcome and really meaningless to democracy in the U.S. at all – focusing on the errors not in political strategy and campaigning as most media outlets were doing at that time, but rather upon the mistakes in vote casting, counting or registering … the mechanics of voting itself and reports of problems and issues.

KPFK News stayed in the context of the actual votes cast and counted – or uncounted – long after others had heaped their towels atop John Kerry’s, thrown so soon after Election Day.

From our position it was clear that the election was still too close to call.

I maintained that claims to the contrary were suspect. But the constant and immediate projection and legitimization of a Bush victory is what we saw … and heard … daily, at incredible volume from every network and publication – that they “did not contest the outcome of Bush’s victory …”

only a handful of alternative media outlets proposed that votes in OHIO were unclear and that results from many parts of the country that used electronic voting machines were skewed versus long-trending and historically accurate exit polls.

[actually the Herbst Brothers were there – is it correct to call you that? I mean that the editors of The Journal of Aesthetics and Protest were on that panel, as was the artist Mariana Botey, who invited me to participate]

and a second talk I did in San Francisco at New College in The Mission District one month later, on 5 December of last year, entitled, “Radio As Meta-Medium.” … that one is available apparently in its entirety online … I haven’t heard it but I understand it’s there … and it was sort of hectic as I was positioned to have to defend myself against my former employers and fellow Pacificans for a projection I made by e-mail

Yes, after the election and before the electoral college vote, I was the only broadcast journalist in the USA to project John Kerry the winner of the state of OH – and thereby the winner of the Presidency by an electoral college vote-count of 3 delegates 270 to 267.

I did it three weeks after election day and only upon the collection and broadcast of numerous testimonials regarding the election from experts, monitors and voters in Ohio, Florida, New Mexico, Nevada and other parts of the country. I made the projection because I felt that the declaration that Bush had won was no more than an unsubstantiated projection made by corporate-controlled media in the U.S. and parroted by those unwilling to do proper journalism or even proper investigation into electoral problems. I did it more than a month before the Electoral College voted because I wanted to slow the confirmation of George Walker Bush’s second term as President – so a proper investigation of the election could be conducted.

As a side note: I do not believe that George Walker Bush is the legitimate President of the United States of America. The NORC study, an independent, academic investigation into the election of 2000 v. Gore proved Bush lost at that time and published results in the Spring after his first so-called Inauguration – that data can be found at www.norc.org

and I believe Bush, through Rove and his people, have committed election fraud in 2004 to bring about a bureaucratic coup here in the U.S. – perhaps you do, too.

It was this position that forced me out of KPFK and Pacifica –the network was unwilling to take my stance, considered, at the time, too radical. The local station manager claimed she had to play her hand as it was dealt, folding me out and, ultimately, stooging for Pacifica management at the Network’s head offices in Berkeley.

Though ultimately foiled by the inner-workings of the institution, I was able to get key pieces of information out, was able to make certain kinds of journalism happen that had not yet happened in much if not all of U.S. electoral journalism. And techniques that had not been tried in U.S. American journalism were tested some of which thrive today at KPFK News and nowhere else.

This was the inevitable conclusion of the piece … It was predictable that the artists methodology would eventually conflict so firmly with the so-called journalists methodology, or that of Pacifica, the pacifist, listener-driven community medium. That there would be some kind of tautological or industrial or logical paradox or collision … this was inevitable. I sought to control this long enough to participate in the election of 2004 in a way that no other media outlet would.

For myself, secure in my methods and what I have learned, I do not accuse Pacifica management of anything more than cowardice, complacency and ignorance. They just don’t get it. They are confused about methodology. Their techniques are sadly outmoded. There are luddites among them and they can’t keep up. They are held hostage by their fear that they will cease to exist and so they function like hangers-on, desperate for attention and support, unwilling to take strong positions. They do not know how to change the way journalism is done in the U.S. They do not know how to take advantage of their unique position. They struggle to stay afloat because of bad management which wastes opportunities and the tremendous goodwill extended in the form of cash contributions by the listener-sponsors.

Pacifica is also deeply infiltrated by agents known as moles. It doesn’t take much … I mean it’s a community station and the doors are wide open. The RCP, Democrats and Right-Wing agents have access and they regularly manipulate Pacifica’s content. I knew this going in, as a listener it is apparent – and I tried to navigate the environment for the term of the project in an attempt to cut through.

The question for myself as an artist was how strategically could I flex in this context. Could I identify stories or angles that were NOT being allowed to break through the U.S. American Media vacuum and push them through the tool?

In the instance of the Election, that circumstantial evidence pointed to manipulation of votes and vote-counts by Republicans and that a fraudulent election had been alleged by reputable elections monitors? The answer is … No.

In the instance of investigating the polarizing events of “nine – eleven” … no. not really.

Well, at least not to more than a few hundred thousand listeners at a time.

Well, I think it’s best NOT to duplicate the material discussed in the previous talks as much as possible. I’d rather bring other things to bear here tonight – perhaps a more global and academic view, now that there has been time to review the period – and then the three talks taken together will have a kind of thicker … meaner … impact.

The title of tonight’s lecture

Pluralism of Media In The Age of Surveillance

Is really very broad because I conceived it quickly in a phone call with Michael to pull this together, but it really suits, to the direction I want to go with the material I have gathered in the last eight years.

I coined a term a few years ago to describe one type of public art or public intervention or public work I am engaged in and that I am encouraging others to participate in, and that’s in our subtitle here:

Info-Prop.

Information Propaganda is an extension of the 1968 term Agitation Propaganda or Agit-Prop.

Info-Prop is art meant to convey truth past the massive volume of lies and omissions being generated by technocrats and corporate controlled media. It seeks truths that have been buried or evacuated. (We’ll get into this tactic later – the evacuation of collectively held truths)

Info-Prop attempts contemporaneous revision of what is being recorded as history at The New York Times, or on FOX in an attempt to create and maintain parallel histories to that documented by the largest of our mass media.

The incredibly creative signs, performances and clothing I have seen, not just at protests, but everywher over the past few years that include graphics of complex data, visual portrayals of the power structures that exist, images of Rumsfeld shaking hands with Saddam Hussein in 1983, facts represented on charts that are not made available through corporate media … this is what I mean. Information Propaganda. Info-Prop.

Info-Prop is an outsider art form that can be exercised by professional artists and non-artists alike. As a movement of cultural production Info-Prop has been driven primarily by the nexus of the Information Age: the Internet.

This immediate, free, global connection – invented by the U.S. defense department to allow for internal communication in the event of a nuclear attack [this was before they figured out that EMPs would probably take out all power] … then given second to academics and then finally to everyone else but only through deregulated, proper Capitalist structures … Internet Service Providers and so on … this Internet is still very very very young.

Here in the U.S. we push, sit upon and ride the half-ass, trickety jalopy we call the Internet at the dawn of international communication in real-time, awaiting a sensibility to take hold of the English-language part of our social intercourse that isn’t fundamentalist Christian and radically right-wing or from Texas with a hardline agenda or wearing an elephant tiepin in the form of the flag of the United States of America.

It is apparent now that the United States of America is occupied by a political force that can only be called a faction. This faction controls communications media with near-absolute restriction of content, controls agencies that monitor, manage and distribute the collective funds of the largest bank account in the world, and controls the most powerful military to which it granted more than 400 Billion dollars last year, the best funded, most powerful war machine on earth.

Among the fools in this faction there are elderly bigots who are given swan-songs of attention, there are hyper-militarily minded protocol hounds who have seized the language they wrote only two and a half generations ago. There are House Niggers. And House Wiggers, too. House Immigrunts.

All have been seized by soldier mentality and blood-lust – that is the stage play CNN, NPR, PBS, ABC, CBS, NBC, Fox, HBO, The New York Times, Washington Post, and every major news outlet in the United States is meant to project because what happened is:

The free-est economy in the world puffed itself up for eight years – wrapped itself into a Y2knot by getting dumbed into a hitch in the 90’s – and had to be “system re-booted.”

Thus, 9/11.

When all intranet debts were erased by a tidal wave of media, pumping the same fiction (a well-known – not obscure – mafia move). They hate our blue jeans and Matrix movies so we get to go kill them and take their oil. All the drunk parasites clinging to the largest multi-media assault on international humanity ever attempted by any country, any peoples.

This faction is guilty of producing, staging and titling “9-eleven” to salvage the failing economy and to stimulate younger generations of participants into their System of Society. They do this with pride. Named themselves neoconservatives and have a fascist mentor, author and originator in the Russian-Jewish immigrant University of Chicago Academic Leo Strauss, a TV-watching, hate-filled neo-Hobbes.

We witness these neocons drop megatons of death from the sky upon the heads of others, elsewhere, anywhere in the world they wish. These, who have said aloud – and continue to say it – they believe they are doing God’s work while openly engaged in murder, manipulation of masses, demagoguery, espionage, political deceit, covert operations and corporate protectionism.

There is significant reason to believe that the Internet, your e-mail, is not secure and that the content is being manipulated by Intelligence agencies of the U.S. and other Nation States as well as by rogue operatives as these agencies claim. That all our phones are tapped.

But, it is important to note –

as this graphic by San Francisco-based, Portuguese artist Rigo 23 illuminates –

how few people really have access to the Internet still.

At the talk in San Francisco late last year, I called “Live Radio” a meta-medium, unlike other media because of its intimacy, its vernacular aspect, its aural and oral nature and the fact that it “happens” in real time.

By distilling content from the Internet, Television, Print and other media into a script to be read over the airwaves by a reader, radio, like television, seeks the trust of the listener in the reader and her or his script and attempts to make itself meta-mediator of content.

If you are blind perhaps the radio is the only way to get the information, but the vast majority of radio listeners are not blind – they have chosen the radio as their mediator. Trust has been established.

Radio is a Meta-Medium.

This is actually how the right-wing in America has achieved so much, using broadcast and particularly a.m. radio to great effect to create trust in voices who bend truth, commit prevarications of omission and outright lies in order to push an agenda of their party and their interests. Limbaugh, O’Reilly, Dennis Miller, etc. etc.

Corporations give them volume … the sheer volume of the “mass” in mass media. This is how dollars are translated into historical fiction.

We live in a condition where small groups of committed, intellectual individuals interested in truth have been cordoned off, marginalized and re-framed. While their messages may be true and may occur in a pluralism of media, these messages are drowned out and disappeared, by tactical disinformation, damage control, spin and evacuation. This is what I mean by evacuated. Vacuo. Vacuum. the idea that some stories are made invisible because once they are reported special interests with access to enormous tools of media create a vacuum around them, bury them in irrelevancies or reduce them in importance in the National psyche.

One of the major problems is that the intelligence capabilities of the other side in this media war are so completely all-pervasive that they are able to nip any impending growth of movements around ideas early and prevent them from growing.

I think of the pre-emptive strikes in New York during the RNC in which 1900 people were arrested. Think about this, folks, three times the number of people arrested in Chicago at the DNC in 1968 were arrested in New York in 2004 at the RNC and nobody cared … well, not nobody … but who really knew that the Republican Party … the Federal Government and Bush had instructed the New York Police Department to arrest protesters in New York in advance of their committing acts of civil disobedience because these were known to participants and police in advance of their occurrence and who cared that the Republicans PAID for the lease on Pier 59, to have these peaceful protesters – women, men, grandmothers – put into a filthy, toxic holding pen. Who now knows that the place had been leased by the Republican Party for this purpose?

These tactics are the physical parallels to the pre-emptive tactics applied in media on a daily and weekly basis by political factions.

You know that a group is going to launch a major story about you because you have them surveilled. You then take whatever steps necessary to make the story disappear or seem ridiculous.

And now we see the title of our talk today more clearly:

Pluralism of Media in the Age of Surveillance.

Some tactics

1. Language

Coinage:

U.S. American – For many years the term ‘American’ used to describe people of the U.S.A. has been offensive, a classic form of propaganda – mitigating the genocide the whole of the Americas has been experiencing for 512 and a half years under a rubric of the hemisphere’s Master – the U.S.A.

Peacekeeping Gunmen

George Walker Bush, Dick Bruce Cheney

Ahmad Chalabi

“puppets”

2. Media Itself – I think that intercessionary tactics have to be exercised into various media where they are not expected. – example of the NYU kids.

3. Non-Linear techniques … non-sequitors …

4. courage

What Motivates My Writing

17 Monday Feb 2003

Posted by mtk in beliefs, Commentary, essay, journal entries, Letter From MTK, Los Angeles, thoughts

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What motivates you in your work?

In a slow, measured and lucid way, a way that has revealed itself to me with heaviness over the past fifteen years, I have come to believe I am seeing the end of something.

Humankind must put an end to war or war will put an end to humankind.

To isolate oneself in contemplation, no matter how comfortable it may seem a position from which to view the world, is simply unacceptable; costly.

We must use the extremely complex tools we have invented for this purpose: to focus our energies and work toward more equitable and efficient distribution of the earth’s available resources.

We must put an end to warmongering.

We must disarm and then de-militarize first the United States.

It must be held accountable for its excesses and waste. It must assume responsibility for the Colonial Era and the good U.S. Americans, who know the truth, must begin the task of admission of the ongoing genociding of cultures in USA, of the economic reality that the current power structure has been built on slave’s labor [for the Millennium?]

Rampant, bloated overdependence as a result of the Era of Capitalism must be tamed and harnessed to bring the world together peacefully.

Those incapable of diplomacy should be jailed until they have calmed down and seen the error of their course.

I am motivated to aid those who see that thieves and dacoits have stolen the greatest of the earth’s resources for the last five hundred years and are not through yet and must be held to task for such barbaric idiocy; that seeks to interfere with the great continuity of human thought.

The USA is the world’s greatest impediment to peace, stability and progress; it must be told by humanity to stand down in the exact manner that international humanism told South Africa, “Aparteid will not stand.”

M.T. Karthik, February 17, 2003, Los Angeles

How Long Have I Been Writing

21 Tuesday Jul 1998

Posted by mtk in beliefs, Commentary, essay, journal entries, Letter From MTK, NYC, philosophy, thoughts

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answer, esay, essay, how, Karthik, long, mtk, new, NYC, question, Rhae, t., writing, york

July 21st 1998ce

Q: “How long have you been writing?” – T. Rhae Watson, question posed by e-mail – July 17th, 1998ce

A: I have never answered this question before. I include here a discussion only of the things I still possess – that are thus verifiable.

I began writing a journal entry to myself about my own life as I perceived it at the age of 9. It was in a small (maybe 5″ x 5″), square journal given to me by my mother. It had a plastic laminated cover that was mostly white. It had green-bordered edges. There was an image of a yellow, sparrow-like bird on the cover. It sat on a twig or branch of some tree. Inside I made drawings of Snoopy, the dog from the comic strip Peanuts by Charles M. Schulz, riding his doghouse as a WWII pilot chasing “The Red Baron”.

I wrote in it that at night I was listening to classical music on the radio before I went to sleep. I wrote about the San Antonio Spurs basketball team and about other sporting events. I wrote about what we did after school i.e. “built a fort … went caving.” I wrote in it that I had been watching different television shows and of how my sister and I were getting along. I wrote about being afraid to bring home a report card to my father with a grade of b minus in one of my math classes.

I wrote my first short story when I was 8. It was called, “The War of the Saturnanians and the Jupiteranians and other Space Stories” It was typewritten by Ms. Hutzler, my second grade teacher and the first teacher I had in Texas, in the United States. It had drawings that I made myself. I still have it.

The journal entries continued and I began to write about pubescence – about girls in school I had crushes on who rejected me (Jill Prather in the 6th grade) or who took an interest (Michele something-or-other … is it significant that I can’t remember her last name but can remember Jill’s?). I wrote about my teachers and friends whom I felt separate from, separate because of my appearance as an Indian kid.

I began writing more serious journal entries and poetry in the autumn of my 14th year. That year I became an American citizen by oath and against my will and that same year, my parents, after years of bickering and fighting became one of the first Indian families in the US and the first in my ancestry to divorce.

I wrote about loneliness and disaffection from the society in Texas where I lived. I was depressed. Writing helped me to feel less alone. But more than the writing – which I showed to no one, reading helped a great deal. Listening to Jazz was deeply influential to my writing.

I read “Music is My Mistress” (the autobiography of Edward Kennedy “Duke” Ellington) that year. I also first read the Autobiography of Malcolm X. I was listening to Ellington, Strayhorn, Monk, Miles, Coltrane and other jazz musicians avidly. I had taken an interest in Russian literature in this time, too. In particular the work of Anton Chekhov – I can remember that at that time I read “The Bet” and it “changed my life”. I also read a great deal of Kurt Vonnegut’s work, whom I admired.

I wrote more and more short stories and poetry in the next ten years. In high school, I wrote stories and poems – which again I showed to no one, save a few friends, and by young adulthood to one or two lovers (though the use of that term for what we were then is laughable). I wrote a couple of stories for a class in high school – Mrs. Garner’s Honor’s English class. The first one was a fantasy story about an E.R. Burroughs’s Conan-like character who traveled into a mine shaft. The second was a rip-off of “Miracle on 34th Street,” save that it was stupider and less interesting – it was called totally unoriginal by Jessie Burstein, the most talented writer in my class, who had her own column in the school paper called, “Jabberwocky”. I heard the class comment on the story from outside the window. Mrs. Garner who was a great English teacher, told the class who the author of the story was though she promised the readings would be anonymous. Later, she told me she revealed me because she thought, “I could take it.”

In college I wrote about many things. I wrote a paper on the Kurds in Turkey (this was before the big American press blow-up). I wrote about Civil Disobedience and Constitutional Law. I wrote a short story about a guy named Joe who had the most boring job in the world because he was assigned to watch the world’s most accurate clock, to be sure it stayed accurate. Then one day it stops and time stops and alien creatures land and tell him they have been stopping time and visiting all along and that the clock is totally inaccurate but that we all don’t know it because time is a relative concept. Joe is flabbergasted and amazed. It was a stupid story with a bad ending.

I was deeply influenced at this time by the works of Howard Fast, Gabriel Garcia-Marquez, Lewis Carrol and other writers of the “fantastic.” I had been reading science fiction for years. I also began my first serious pursuit of the writings of Buddhists. Prior to this time I had been reading only casually works by Paul Reps and other translators.

After college I worked for a while in Austin, Texas and then made the decision that I needed to leave the United States.

I moved to Asia on a one way ticket and with $10 US on September 6th of 1990. For the next three years I wrote journals and stories. I wrote journal entries about my travels and changes in perspective. I learned Chinese and went back to India. I traveled in Taiwan, Japan, Korea, Thailand, Indonesia and India. I wrote a great deal about language and about my withering and often depressed self. I felt free and alone for the first time in my life. I felt very alone and depressed.

When I returned to the US – again against my will – I went back home to Texas, took the Graduate Record Exams with my mother and then made a series of blunders – moved to Washington DC for four months, then to New Orleans for two years to study for my Graduate degree at Tulane, a “mistake” that cost me $40,000, which I haven’t yet paid back. I left New Orleans in December of 1993 in a driveaway car, with $1000 in cash and up to my ass in debt. I arrived in San Francisco on December 24th, 1993 – Christmas Eve.

I walked and walked and thought a great deal that night. There was a crescent moon over the Transamerica pyramid. I went back to a friend’s place where I was staying temporarily and wrote a list of goals for the time to come. This list included the first practical discussion of my desires to write. I made a list of items I wanted. A novel and a collection of short stories appeared on that list. I intended to use my time in San Francisco to create a body of work.

I worked for ten months at Genentech, Inc. with Dr. Don Francis on an AIDS vaccine project. I saved about $3000. I wrote three short stories in that time – all of which sucked because work was a distraction. One was called The Plan and was about a marathon dance contest. On January 9th of 1995, I met Jonas Salk at a meeting regarding the prophylactic AIDS vaccine project upon which I was working at Genentech. The next day I quit and moved to Ecuador. I arrived on January 15th and began writing what would become a novel and the journalistic experiment I would finish two years later. Jonas Salk died while I was in South America.

For four months I wrote journal entries, some poems and a handful of story ideas while in South America. I spent the time considering what I wanted to achieve. I moved back to the US (again) and sublet an apartment in Austin, Texas. I gave myself a test period, telling myself I would try to write for two months. I reasoned that if I spent the two months just hanging around Austin, enjoying myself and lounging then writing wasn’t for me. If however I actually spent the time writing then I would see into what it would grow. I stopped cutting my hair.

Those two months were the birth of the novel.

I moved back to San Francisco, couch-surfed homeless for ten months, entered the 1995 Anvil Press 3-Day Novel Writing Contest on Labor Day, placed in the top ten, continued writing and writing and writing and finished a skeleton of the novel by January. By February shit was pretty lame – I was broke and homeless.

My friends and family assisted me in getting a room in an apartment on Hayes Street. That was April of 1996. I set myself a deadline of January 15th, 1997, to finish the novel and the writing experiment. In August I was extremely depressed, writing a lot and feeling alone.

That month, I gifted a story I wrote called Eulogy, to my friend Missy as a birthday present. I read it aloud at a party at her house while having my hair, which had grown long by then, braided by you, an editor. You called and expressed interest in my work and between then and January you know the story: you edited fifteen of my works.

On January 17th, two years and two days after I began, I ended the novel, produced a copy and took it to Chronicle Books in San Francisco. It was a sunny Friday afternoon that I chronicled carefully. I walked the book to Chronicle and dropped it off. The receptionist was reticent to accept it because she said it should have been mailed. Then, after consultation by telephone to the inner sanctum, she finally took it.

It was rejected within ten days without being read. I have a confession from the person who signed the letter of rejection that the book was never read. I wrote a reply to the rejection, sealed it in the book and closed it up.

Over the next five months I turned thirty years old and produced the books “Mood”, “Truthful Conceits”, “Sucka Free” and “An Examiner’s Chronicle” – self published texts all: a novel, collection of short stories, of essays and journals.

On June 6th, I decided I would move to New York. During the time I spent in SF, South America, Austin and back in SF, I had created four novels, fifteen short stories, a collection of essays and hundreds of thousands of words in journal entries. I had made a body of work. Megan Sapperstein cut off most of my hair and then I shaved my head.

I moved to New York in summer – writing a novel called “Incognito” on the way across the country – and sending post cards to Sonny Mehta, the president of Knopf publishing as we traveled. I told him I would arrive in New York and deliver my novel to Random House publishing on September 1st. I arrived Sept. 1st and went to Random House. It was closed for Labor day.

I returned on September 2nd and delivered the book, which Mr. Mehta subsequently saw. He suggested I pass it to two other editors. I also gave him a copy of the novel “Incognito” which I wrote while traveling. The novel was a post-modernist collage of flyers and text and characters created in the spirit of “On the Road.” It was written by hand during the summer of the 50th anniversary of India’s independence and the 50th anniversary of Kerouac’s travels with Cassady that became “On The Road.” Incognito is comprised of four journal-sized books and a Compact Disc which I made in Seattle – it is intended to be a disc of one of the characters of the novel singing and telling a story. It is 60 minutes long.

Once “Incognito” was returned by Knopf, I sent it back out on the road by passing it to a reader without my name in it, in a shoebox. “Incognito” is presumably still traveling from reader to reader.

Since that time I have heard nary a word from Random House about my book. The company has been bought by Bertelsmann. I never again heard whether my book was accepted or rejected. I have written three stories in New York City. The first two were called “Mahmoud Singh,” and “The Rubric of Philpot Dot Doc”. The most recent piece I have written is called “Close the Piano”.

I am alone in New York. … and that is the story of my writing career. … I have never written that down nor said it aloud before. Now I have a job I hate – in administration at The New School University in Manhattan. I can be reached at 212/ 229-5662 x286. Messages may be left for me at 212/ 229-5662 x286. Every word I have written here is true to the best of my knowledge.

Al Gore at Trinity University

23 Thursday Apr 1992

Posted by mtk in Commentary, protest, San Antonio, self portrait, talks, thoughts, TX

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1992, Al, antonio, april, balance, deforestation, ecology, Gore, Karthik, m.t., mtk, politics, San, Senator, speaking, talk, talks, texas, Trinity, university

Senator Al Gore was on a book tour promoting Earth in the Balance. He hadn’t yet been picked as Bill Clinton’s running mate when I saw him at Trinity University in San Antonio, Texas, in April of 1992. He spoke for about forty minutes about the grave responsibility people around the world had to be more conscious of environmental degradation and then allowed for questions. I raised my hand and asked the Senator what he thought about the fact that the United States was the world’s greatest polluter and the greatest abuser of the earth’s resources.

I asked what the Senator thought of an editorial suggestion in the Houston Post that countries with large rainforests like Brazil and Malaysia should be allowed to tax the rest of the world for their usage of the primary resource they produce: clean air. (The idea was that the U.S. should be made to pay these countries not to deforest – the Post editorial had called it an Oxygen Tax).

I suggested to Senator Gore that the Global capitalist system – authored out of the U.S. and Europe – may have been the root cause for much of the irresponsibility he wrote about, quoting then Malaysian Prime Minister Mahathir Mohammad, who had that year remarked that “Democracy and free markets are not magic. They do not make backwardness and ignorance disappear.”

In response, Senator Gore asked me if I was from Malaysia.

When I said I was not he replied, “Good – because they’re the worst!” and went on to complain about deforestation of the islands of South East Asia, ignoring the responsibility of facing the economic facts of environmental degradation.

When he’d finished, some grad students in the audience tried to pick up my call for greater responsibility to be placed on the demands of Northern and Western markets, but Senator Gore just didn’t want to get it. While Republican President GHW Bush was the one who’d said he would never apologize for the actions of the U.S.A., whether or not they were wrong, by the early 1990’s the Democrats weren’t much better at owning up.

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M.T. Karthik

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This blog archives early work of M.T. Karthik, who took every photograph and shot all the video here unless otherwise credited.

Performances and installations are posted by date of execution.

Writing appears in whatever form it was originally or, as in the case of poems or journal entries, retyped faithfully from print.

all of it is © M.T. Karthik

a minute of rain

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