A "surplus" of activity with Red76
By Sarah Peters
- Skyline Room, 2005. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2005. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2006. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2006. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2006. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2006. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Walker Art Center, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Minneapolis Sculpture Garden, 2019. Photo: Studio 220 Photography. Courtesy Walker Art Center.
- Garden Terrace, 2019. Photo: Studio 220 Photography. Courtesy Walker Art Center.
- Garden Terrace, 2019. Photo: Studio 220 Photography. Courtesy Walker Art Center.
- Garden Terrace, 2019. Photo: Studio 220 Photography. Courtesy Walker Art Center.
- Photo: Studio 220 Photography. Courtesy Walker Art Center.
- Garden Terrace, 2019. Photo: Studio 220 Photography. Courtesy Walker Art Center.
- Garden Terrace, 2019. Photo: Studio 220 Photography. Courtesy Walker Art Center.
- Minneapolis Sculpture Garden, 2019. Photo: Studio 220 Photography. Courtesy Walker Art Center.
- McGuire Theater, 2005. Photo: Cameron Wittig. Courtesy Walker Art Center.
- McGuire Theater, 2006. Photo: Gene Pittman. Courtesy Walker Art Center.
- McGuire Theater, 2006. Photo: Gene Pittman. Courtesy Walker Art Center.
- McGuire Theater, 2006. Photo: Gene Pittman. Courtesy Walker Art Center.
- McGuire Theater, 2006. Photo: Gene Pittman. Courtesy Walker Art Center.
- McGuire Theater, 2006. Photo: Gene Pittman. Courtesy Walker Art Center.
- McGuire Theater, 2005. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Walker Cinema, 2012. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Walker Cinema, 2012. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Walker Cinema, 2013. Photo: Gene Pittman. Courtesy Walker Art Center.
- Walker Cinema, 2013. Photo: Gene Pittman. Courtesy Walker Art Center.
- Burnet Gallery, 2005. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2006. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Walker Gallery, 2009. Photo: Gene Pittman. Courtesy Walker Art Center.
- Walker Gallery, 2010. Photo: Gene Pittman. Courtesy Walker Art Center.
- Walker Gallery, 2010. Photo: Gene Pittman. Courtesy Walker Art Center.
- Medtronic Gallery, 2014. Photo: Gene Pittman. Courtesy Walker Art Center.
- Bazinet Lobby, 2016. Photo: Gene Pittman. Courtesy Walker Art Center.
- Installation view Stanley Whitney: How High the Moon, 2025. Photo by Kameron Herndon. Courtesy Walker Art Center.
- Garden Terrace, 2008. Photo: Gene Pittman. Courtesy Walker Art Center.
- Garden Terrace, 2008. Photo: Gene Pittman. Courtesy Walker Art Center.
- Garden Terrace, 2008. Photo: Gene Pittman. Courtesy Walker Art Center.
- Garden Terrace, 2008. Photo: Gene Pittman. Courtesy Walker Art Center.
- Garden Terrace, 2008. Photo: Gene Pittman. Courtesy Walker Art Center.
- Garden Terrace, 2008. Photo: Gene Pittman. Courtesy Walker Art Center.
- Terrace Thursdays: Last Chance Dance, 2017. Photo: Anna Gulbrandsen. Courtesy Walker Art Center.
- Terrace Thursdays: Last Chance Dance, 2017. Photo: Anna Gulbrandsen. Courtesy Walker Art Center.
- Terrace Thursdays: Last Chance Dance, 2017. Photo: Anna Gulbrandsen. Courtesy Walker Art Center.
- Terrace Thursdays, 2019. Photo: Awa Mally. Courtesy Walker Art Center.
- Terrace Thursdays, 2019. Photo: Awa Mally. Courtesy Walker Art Center.
- Terrace Thursdays, 2019. Photo: Awa Mally. Courtesy Walker Art Center.
- Terrace Thursdays, 2019. Photo: Awa Mally. Courtesy Walker Art Center.
- Terrace Thursdays, 2019. Photo: Awa Mally. Courtesy Walker Art Center.
- Terrace Thursdays, 2019. Photo: Awa Mally. Courtesy Walker Art Center.
- Garden Terrace, 2017. Photo: Alice Gebura. Courtesy Walker Art Center.
- Medtronic Gallery, 207. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Medtronic Gallery, 2014. Photo: Gene Pittman. Courtesy Walker Art Center.
- Medtronic Gallery, 2014. Photo: Gene Pittman. Courtesy Walker Art Center.
- Skyline Room, 2025. Photo: Gene Pittman. Courtesy Walker Art Center.
- Skyline Room, 2006. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2006. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2006. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2006. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Cargill Lounge, 2010. Photo: Gene Pittman. Courtesy Walker Art Center.
- Skyline Room, 2015. Photo: Drew Johnson. Courtesy Walker Art Center.
- Skyline Room, 2015. Photo: Drew Johnson. Courtesy Walker Art Center.
- Performance in Cargill Lounge, 2016. Photo: Gene Pittman. Courtesy Walker Art Center.
- Poetry Reading in Cityview Room, 2019. Photo: Pierre Ware. Courtesy Walker Art Center.
- Poetry Reading in Cityview Room, 2019. Photo: Pierre Ware. Courtesy Walker Art Center.
- Poetry Reading in Cityview Room, 2019. Photo: Pierre Ware. Courtesy Walker Art Center.
- Pop up Photo Gallery in Cargill Lounge, 2019. Photo: Galen Fletcher. Courtesy Walker Art Center.
- Pop up Photo Gallery in Cargill Lounge, 2019. Photo: Galen Fletcher. Courtesy Walker Art Center.
- Hennepin Lobby, 2008. Photo: Gene Pittman. Courtesy Walker Art Center.
- Cargill Lounge, 2013. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Skyline Room, 2019. Photo: Lauren B. Photography. Courtesy Walker Art Center.
- Crosby Conference Room, 2009. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Crosby Conference Room, 2009. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Crosby Conference Room, 2009. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Crosby Conference Room, 2009. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Crosby Conference Room, 2009. Photo: Cameron Wittig. Courtesy Walker Art Center.
- Party In/The Garden, 2021. Photo: Carina Lofgren. Courtesy Walker Art Center.
- Party In/The Garden, 2021. Photo: Carina Lofgren. Courtesy Walker Art Center.
- Party In/The Garden, 2021. Photo: Carina Lofgren. Courtesy Walker Art Center.
- Party In/The Garden, 2021. Photo: Carina Lofgren. Courtesy Walker Art Center.
- Party In/The Garden, 2021. Photo: Carina Lofgren. Courtesy Walker Art Center.
- Teen Takeover, 2018. Photo: Carina Lofgren. Courtesy Walker Art Center.
- International Pop Preview Party, 2015. Photo: Angela Jimenez. Courtesy Walker Art Center.
- International Pop Preview Party, 2015. Photo: Angela Jimenez. Courtesy Walker Art Center.
- International Pop Preview Party, 2015. Photo: Angela Jimenez. Courtesy Walker Art Center.
- After Hours, 2022. Photo: Carina Lofgren. Courtesy Walker Art Center.
- After Hours, 2022. Photo: Carina Lofgren. Courtesy Walker Art Center.
- After Hours, 2024. Photo: Carina Lofgren. Courtesy Walker Art Center.
- Cardamom, 2021. Photo: Anne Victoria Photography. Courtesy Walker Art Center.
- Nellie Kluz, The Dells, 2024. Courtesy the artist.
- Samira Makhmalbaf, The Apple, 1997. Courtesy the artist.
- Nellie Kluz, The Dells, 2024. Courtesy the artist.
- Jessi Reaves, Big vanity with modesty flap, 2025. Photo: GC Photography Courtesy the artist and Bridget Donahue, New York.
- Sound for Silents 2021: Film + Music on the Walker Hillside, 2021. Photo by Pierre Ware. Courtesy Walker Art Center.
- Installation views Jessi Reaves: process invented the mirror, 2025. Photo: Eric Mueller. Courtesy Walker Art Center.
- Installation views Jessi Reaves: process invented the mirror, 2025. Photo: Eric Mueller. Courtesy Walker Art Center.
- Installation views Jessi Reaves: process invented the mirror, 2025. Photo: Eric Mueller. Courtesy Walker Art Center.
- Jessi Reaves, Bachelors stool with fake flowers (after kuramata), 2025. Courtesy the artist and Bridget Donahue, New York; photo: GC Photography
- Jessi Reaves, Rebuilding vanity, 2025. Courtesy the artist and Bridget Donahue, New York; photo: GC Photography
- Jessi Reaves, Street Lamp, 2025. Courtesy the artist and Bridget Donahue, New York; photo: GC Photography
- Jessi Reaves, Your room is the same as when you left, 2025. Courtesy the artist and Bridget Donahue, New York; photo: GC Photography
- Shahzad Ismaily. Photo: Mary Rozzi. Courtesy the artist.
- Cowles Pavilion and Regis Promenade
-
Thomas Schütte
Artwork
Bronze Woman IV Bronze Woman IV
Date1998/2000
-
Aaron Spangler
Bog Walker, 2017
-
Angela Two Stars
Okciyapi, 2021
- James Turrell, Sky Pesher, 2005
- Franz West, Sitzwuste, 2000
-
Thomas Schütte,
Bronze Woman IV Bronze Woman IV, 1998/2000
- Jene Highstein, Untitled, 1987–1988
-
Danh Vo 2011.51
Sculpture
Title: Tombstone for Phùng Vo from All your deeds shall in water be writ, but this in marble
Date: 2010
Medium: black absolute granite, gold
- Sol LeWitt, 1988/2016
- Jim Hodges, Untitled, 2011
- Alexander Calder, Octopus, 1964
- Tony Cragg, Level Head, 2007
- Kcho, La soledad, 1999/2005
- Katharina Fritsch, Hahn/Cock, 2013/2017
- Kinji Akagawa, Garden Seating, Reading, Thinking, 1987/2017
- Ellsworth Kelly, Double Curve, 1988
-
Theaster Gates, Black Vessel for a Saint,
2017
- Mark Manders, September Room, 2017
- Matthew Monahan, Hephaestus, 2013
- Eva Rothschild, Empire, 2011
- Tony Smith, Amaryllis, 1965/1968
- Jenny Holzer, Selections from The Living Series, 1989
- Mark di Suvero, Arikidea, 1977–1982
- Kris Martin, For Whom …, 2012
- Aaron Spangler, Bog Walker, 2017
- Liz Larner, X, 2013
- Liz Larner, X, 2013
- Nairy Baghramian, Privileged Points, 2011/2017
- Monika Sosnowska, Untitled (gate), 2014
- Scott Burton, Seat-Leg Table, 1986/1991.
- Deborah Butterfield, Woodrow, 1988.
- Martin Puryear, Gog & Magog (Ampersand), 1987–1988
-
Franz West
Artwork
Sitzwuste
Date2000
- Isamu Noguchi, Shodo Shima Stone Study, 1978
-
Claes Oldenburg and Coosje van Bruggen,
Spoonbridge and Cherry
1985–1988
- Cowles Pavilion and Regis Promenade
-
Artists
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
-
Artists
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
-
Artists
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
-
Artists
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
-
Artists
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
-
Artists
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
-
Artists
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
- Alexander Calder, The Spinner, 1966
-
Artists
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
-
Artists
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
-
Artists
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
-
Ta-coumba T. Aiken, Rosemary Soyini Vinelle Guyton, and Seitu Jones
Artwork
Siah Armajani from the series Shadows at the Crossroads
- Simone Fattal, Adam and Eve, 2021
- Shahzad Ismaily. Photo: Mary Rozzi. Courtesy the artist.
- Shahzad Ismaily. Photo: Mary Rozzi. Courtesy the artist.
- Shahzad Ismaily. Photo: Mary Rozzi. Courtesy the artist.
- Shahzad Ismaily. Photo: Mary Rozzi. Courtesy the artist.
- August Strindberg, Celestograph XIII, c.1894. Courtesy of the National Library of Sweden, Collection of Manuscripts.
- Fluidic photograph obtained by applying fingers to a photographic plate, Louis Darget, c.1899.
- Effluvia from a Hand Resting on a Photographic Plate, Adrien Majewski, 1898–99. Metropolitan Museum of Art, Gilman Collection, Purchase, The Howard Gilman Foundation Gift, 2001.
- Jakob Ottonowitsch von Narkiewitsch-Jodko, Fluidic photograph, Discharge of a Positive Current, 1883. Collection of Tony Oursler. Courtesy Tony Oursler.
- Jakob Ottonowitsch von Narkiewitsch-Jodko, Fluidic photograph, 1883. Collection of Tony Oursler. Courtesy Tony Oursler.
-
Louis Darget, Thought photograph, The Bird Head (The bird head with his white beak is remarkable),
c.1896. Collection of Tony Oursler. Courtesy Tony Oursler.
-
Ada Emma
Deane, Cloud of ectoplasm with faces of the dead, including Sir Arthur Conan Doyle, c.1930. Collection of Tony Oursler. Courtesy Tony Oursler.
- Barbara McKenzie, Stanley de Brath, Miss Scratcherd, and the spirit extra of Gustave Geley. William Hope, 1924. British Library, London, UK / British Library Board / Bridgeman Images.
- Untitled Spirit Photo, c. 1930. Collection of Tony Oursler. Courtesy Tony Oursler.
- Julia Margaret Cameron, The Madonna Penserosa, 1864. Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1941.
- Julia Margaret Cameron, Vivien and Merlin, 1874. Metropolitan Museum of Art, David Hunter McAlpin Fund, 1952.
- Mary Todd Lincoln with ghosts of Abraham Lincoln and their son, William Mumler, c. 1870-75. Collection of Tony Oursler. Courtesy Tony Oursler.
- Album of Spirit Photographs, Frederick Hudson, 1872. Metropolitan Museum of Art, Gilman Collection, Gift of The Howard Gilman Foundation, 2005.
- Photographs of abstract manifestations, John Beattie, 1872. Collection of Tony Oursler.
- The medium Stanisława P: emission and resorption of an ectoplasmic substance through the mouth. Albert von Schrenck-Notzing, 1913. Courtesy of the Photographic Collections of the Institut für Grenzgebiete der Psychologie und Psychohygiene, Freiburg im Breisgau.
- The medium Stanisława P: emission and resorption of an ectoplasmic substance through the mouth (under netting). Albert von Schrenck-Notzing, 1913. Courtesy of the Photographic Collections of the Institut für Grenzgebiete der Psychologie und Psychohygiene, Freiburg im Breisgau.
-
The medium Eva C. with an ectoplasmic veil, Albert Von Schrenck-Notzing, 1911. Courtesy of the Photographic Collections of the Institut für Grenzgebiete der Psychologie und Psychohygiene,
Freiburg im Breisgau.
- Albert Von Schrenck-Notzing, The medium Eva C. with the materialization of a woman’s face, 1911. Courtesy of the Photographic Collections of the Institut für Grenzgebiete der Psychologie und Psychohygiene, Freiburg im Breisgau.
- Medium Eva C. excreting an ectoplasmic finger. Albert Von Schrenck-Notzing, c.1911. Collection of Tony Oursler. Courtesy Tony Ousler.
- Medium Eusapia Palladino in a séance with Albert von Schrenck-Notzing (left), showing levitation of a small table with an accordion placed on it. Anonymous, Munich, Germany, 1903. Courtesy of the Photographic Collections of the Institut für Grenzgebiete der Psychologie und Psychohygiene, Freiburg im Breisgau.
- Passionate Attitudes, Ecstasy, 1878. From Iconographie photographique de la Salpêtrière. Courtesy Medical Historical Library, Harvey Cushing/John Hay Whitney Medical Library, Yale University.
- Hystero-epilepsy, Contracture, Iconographie photographique de la Salpêtrière. Courtesy Medical Historical Library, Harvey Cushing/John Hay Whitney Medical Library, Yale University.
-
Iconography obtained without light, electricity or photographic apparatus, is due to the
right hand of Dr. M. Adam. In the researches which he kindly undertook for me relating to these so troubling questions, he was taken by a great movement of mental sadness at the moment when this vortex was produced. Hippoltye Baraduc, 1896. Collection of Tony Oursler.
- Hippolyte Baraduc, Heavy Heart (Constellation of droplets attracted to the cave by an invocation of force: the plaque worn on the heart), 1909. Collection of Tony Oursler. Courtesy of Tony Oursler.
-
Ada Emma
Deane, Cloud of ectoplasm with faces of the dead, including Sir Arthur Conan Doyle, c.1930. Collection of Tony Oursler. Courtesy Tony Oursler.
- Untitled Spirit Photo, c. 1930. Collection of Tony Oursler. Courtesy Tony Oursler.
- Jules Courtier, Séance with the Medium Eusapia Palladino, 1907-8. Metropolitan Museum of Art, Gilman Collection, Purchase, The Howard Gilman Foundation Gift, 2001. Courtesy Metropolitan Museum of Art.
- Eva Mohn, 2025. Photo: Kameron Herndon. Courtesy Walker Art Center.
- Art-making in the Cargill Lounge at Free First Saturday, 2023. Photo: Kameron Herndon for the Walker Art Center.
- Child and adult making art at Free First Saturday: Keith Haring Fest 2024, June 1, 2024. Photo: Carina Lofgren for Walker Art Center.
The clean green field outside is about to get messy. Later this month the collective Red76 arrives to conduct a three-week project aimed at enacting radical modes of education through the exploration of the connections between surplus goods and surplus knowledge–the notion that we throw away under-used ideas in the same way we toss out material stuff (more on that below). Umbrella’d under the moniker Surplus Seminar, a flurry of activities make up the project:
- The improvised construction of “Anywhere/Anyplace Academy”–a schoolhouse of sorts built from scrap materials and the skills of whomever shows up
- Book-making using a fancy digital printer, a perfect binder, surplus paper and the internet
- Saturday afternoon picnics with local artists and musicians to discuss the counterculture of underground music as pedagogy
- a lecture on utopia by Stephen Duncombe, the author of Dream: Reimagining Progressive Politics in an Age of Fantasy
- a screening of Bill Daniel‘s hobo film Who is Bozo Texino? with an introduction by the director himself
- discussions on topics ranging from Paul Wellstone and Rural Labor Organizing with Dan S. Wang to native land rights with Unsettling Minnesota
- screenings from the YouTube School for Social Politics–an ongoing Red76 project that invites artists, historians, theorists, etc to create “essays” about social or political ideas using only clips from YouTube. Several YTSSP essays are on view in the Walker’s Lecture Room until August 1st.
- YOU. Surplus Seminar is a project that depends on public participation. Someone has to build the A/AA and someone needs to make books out of all our extra paper. We need your ideas, join up!
How do you get involved? There are many ways.
1. Come to the BBQ Kick-off on Tuesday, July 20 from 6-9 pm on the Open Field to meet the crew and pick up a schedule.
2. Call the Red76 toll-free hotline 1.888.339.4496 anytime, any day during the project (July 20 – August 8) for up-to-date info on daily activities or where to go to scavenge for surplus or help build.
3. Stop by the FlatPak House in the Minneapolis Sculpture Garden any day Wednesday through Sunday and jump into whatever is going on!
For those readers who want some more context, one of Red76’s main instigators Sam Gould answered a few questions for the July/August WALKER magainze about the ideas behind Surplus Seminar. Read on.
Tell us more about what people will experience with this project.
The Anywhere/Anyplace Academy is a collaborative and somewhat anarchic exercise. Its practical aim is to build collectively a space for learning, whatever that might entail. We use the combined skills and know-how of whomever is on hand to help build it, and we glean and reuse surplus materials such as shipping palettes, old doors and windows, sheet metal, whatever comes into our orbit. While aesthetics are of interest, the concern is more about the conceptual design of an educational space. It’s a means of gathering people to imagine, agitate, and activate the ideas that reside all around us and within us; it’s an investigation of surplus knowledge.
What do you mean by surplus knowledge?
We look at surplus knowledge as a mirror image of surplus material: ideas that all too often go under-utilized, to the detriment of the whole. It’s based around the notion that we are each a consumer, creator, and clearing house for knowledge, just as much as we are the receivers, producers, and disposers of material goods. But when we are acculturated to believe that our thoughts and concerns are somehow limited, we are put at a disadvantage—intellectually, socially, and in turn, politically.
On the positive side, repurposing ideas, expanding and agitating them, much like repurposing physical materials, is infectious and generative. Like the many-headed Hydra, a good idea set free spawns another, and another still. No matter how one might like to kill it, codify it, or capitalize upon it, it cannot die. It cannot be stopped.
Why are ideas so important?
In an economy where ideas increasingly serve as the major bedrock for monetary growth, those zones where social and political capital converge can easily become compartmentalized to continue a top-down, hierarchical economic system. The collective and inventive reuse of ideas, therefore, becomes politically necessary as almost never before. Open thought, the sharing of skills and knowledge, and the generative growth that develops from them encourage a horizontal system of benefit.
Working collaboratively—within Red76 and with the public—means leaving a lot of things to chance. What are the benefits of working in this manner?
Even within progressive circles there are plenty of places for one to go and be told what to do, say, think, how to act, how to engage a situation. I find those types of absolutist platforms more acceptable for rallying, capital-P politics, and the like. Sites of learning, the types that I find most encouraging, don’t have an end result, but rather a frame around them that encourages the intangible, the unknown, and the anarchic.



























































































































































































































































