Response to Jules Bruck’s Proposal

The DCCA curatorial staff recently received the following citizen response to Jules Bruck‘s imPERFECT CITY proposal, Whoʼs Downstream: An Exploration of the Impact of Urban Water Runoff.

“If it’s art, then it’s an expression of the artist and should engage at several levels: conceptual, emotional. If it’s education, then water running through cities is affected by ideas running through minds, and money running through politics, and policies running through governments. Water comes out dirty at the other end of the city. Idealism comes out fatalism at the end of politics. Optimism comes out pessimism after money talks. Youth comes out old age after lots of public comment! I learned so much from Buckminster Fuller’s focus on whole systems. It’s an important thing to educate people to understand that their interrelated actions multiplied by thousands of communities have global impacts. Communities that adopt green infrastructure practices and catch rainfall and keep it out of the sewer are making great strides forward. Good exhibits might use some way to show the contribution of 100,000 cars to polluted water. ” – Badwaterjournal

What do you think? Please share your own take on Jules’ proposal by clicking ‘Leave a Comment,’ to the left of this post.


2 thoughts on “Response to Jules Bruck’s Proposal

  1. This thoughtful comment on water quality and public responsibility came from Badwater Journal:

  2. Bud says:

    “A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery. It cannot be so refined, so leisurely and gentle, so temperate, kind, courteous, restrained and magnanimous. A revolution is an insurrection, an act of violence by which one class overthrows another.”

    “Every Communist must grasp the truth: Political power grows out of the barrel of a gun.”

    Quotations from Chairman Mao Zedong (The Little Red Book)(1964)

    Constructors of Utopian guideways into the future have to deal with the actual fact that entrenched power jealously holds on to its possessory interests. And while it holds on to its powers and entitlements it doesn’t sit still. In 2012, polluting industries and the culture of material waste actively seek to expand its sphere and preempt challenges from any quarter.

    Augmented by rapidly expanding digital databases that centralize the ability to recognize social currents, state and federal politicians acting in the service of plutocrats speaking with the money language of billions of dollars are using the executive, legislative and judicial branches to mass statutory and regulatory walls around their privilege.

    Forward looking futurists who seek to transition society to cityscapes integrating equal opportunity, environmental justice and global sustainability must consider if Mao Zedong’s quote is true and a peaceful reconstruction of society along Utopian lines is impossible?

    Utopian artists are in a unique position to design future iconic lifestyles informed by sustainability concepts that integrate psycho-social understanding of human nature from a post Freudian, post Reagan, post Newtown standpoint. Humans have a gnawing need for security and recognition that has to be integrated into utopian social design lest it be expressed in the ancient practices of conspicuous consumption and colonization of innocents and fascism.

    Utopian concepts in the law are needed where we recognize that ‘sovereign governments’ are only collections of agents who hold the responsibility to protect individual human rights. Change must come because the planet is heating up. It’s likely to change by the barrel of a gun unless Utopians locate the knots in the string of peaceful change and untie them.

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