In the summer 2014, we came across the article Finance as Capital’s Imagination: Reimagining Value and Culture in an Age of Fiction, Capital, and Crisis by Max Haiven. An exploration of the politics of imagination under financialized capitalism, this article raised a lot of questions for us around the ways in which our individual imaginations are dictated by market logic. We’ve essentially lost the ability to value things that aren’t measured by the dollar or monetizable. Furthermore, our imaginations are put to use by developing new ways of capitalizing on resources and exploiting others, rather than resisting such systems and imagining new ways of being together based on mutuality, care, and cooperation.
Further reading brought us to the term radical imagination, which Haiven investigates in several of his books and in his collaborative action/research project, The Radical Imagination Project. In the book Crises of Imagination Crises of Power; Capitalism, Creativity and the Commons, Haiven loosely defines the radical imagination:
“The radical imagination is not a ‘thing’ that we, as individuals, ‘have’. It’s a shared landscape or a commons of possibility that we share as communities. The imagination does not exist purely in the individual mind; it also exists between people, as the result of their attempts to work out how to live and work together.”
That is, the radical imagination is not merely about thinking differently; rather, it is the messy and unorthodox process of thinking together. The concept of the radical imagination, as we use it and borrow from these folks, is largely aspirational; it is a placeholder for the possibilities of collectively reimagining ways of being together in the world.
We began to think of the radical imagination as a group of muscles, weak and underused.
A meeting with our friend and experienced yoga instructor Renee Sills deepened our understanding of anatomy. She explained that muscles only work in teams, and when one muscle is tight, its companion muscle is slack. When one muscle is overused, it causes imbalance and chronic stress. This tightened, overused muscle causes a path of least resistance which dictates movement in its direction. That is, the more you use it, the easier it becomes to use it, and the harder it becomes to reverse the pattern of usage.
Our guiding research question became: What would a workout plan for the ‘radical imagination’ look like? We set out to develop a workout plan for the gymnasium by inviting people to facilitate workshops whose practices already embody the kind of collective imagining that our research was pointing to. The first workout was facilitated by Walidah Imarisha and centered around collective visioning, world building, and science fiction writing on issues of social justice. We designed and facilitated the second workshop with Tamara Lynne, asking participants to collectively (and silently) act out 24 hours in Utopia. Carmen Papalia led the third workout titled “Bodies of Knowledge” exploring notions of radical accessibility and involved crafting a collective definition of open access. The last workout, titled “Yoga for Commonwealth”, was facilitated by Renee Sills and used the form of the yoga class to explore ideas of collective exchange and balance.
These workouts mostly took place in Project Grow’s Port City Gallery with an accompanying exhibition. The exhibition component of this project was accumulative and included influential research, workshop generated material and documentation, as well as staging and equipment for the workshops. Prominent design features included a large scale, vinyl line drawing of a gym floor spanning the wall and floor, standard size CrossFit plyometric boxes reimagined as seating, and a combination weight rack/book shelf.
(Re)create the Radical Imagination Gymnasium
Muscle imbalance continues to feel like an appropriate metaphor for the difficulties of challenging and changing a pattern of behavior or social structure. Within financialized capitalism, we have plenty of opportunities to be rewarded and punished as individuals. What we don’t have is ample opportunity, space, and time to collaborate in the creative process of imagining new ways of being together in the world. For a limited time the Radical Imagination Gymnasium offered space for this work.
We think the radical imagination can be strengthened in the same way that a body is conditioned through incremental exercise; starting small and increasing intensity over time. What if we dedicated two hours every week to collective imagining? Or two hours a day? Could a sustained routine build enough muscle memory to reverse the dominant tendencies of the imagination dictated by market logic? We offer these questions and the proposal to continue exercising the radical imagination.
The Social Forms of Art (SoFA) Journal is a bi-annual publication dedicated to supporting, documenting, and contextualizing socially engaged art and its related fields and disciplines. Each issue of the Journal focuses on a different theme in order to take a deep look at the ways in which artists are engaging with communities, institutions, and the public. The Journal seeks to support writing and web based projects that offer documentation, critique, commentary and context for a field that is active and expanding.
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