“So one establishes a kind of dis-temporality—a dislocated media that enunciates an aesthetic condition that disallows power from establishing its conversation in the manner that makes sense to it. “You hacked into a telephone, that’s illegal”—but suddenly they end up having to read poetry. “Is the poetry encrypted?” All poetry is encrypted as far as I know. They have to end up discussing “What is Duchamp?” “What is queer theory?” “What does the trans have to do with anything?” It is here that you detour power into conversations that it’s not prepared to have or doesn’t want to have, and so they become aesthetically confused. For me that’s how that performative matrix works. If we were activists, or cracktivists, or engineers, then the focus would be on establishing that this tool functions in an effective utilitarian manner that goes in a linear direction. But our approach is, “that’s not the way to do the work.”
AES: But you also simultaneously do the reverse in terms of arti-scientist thinking about the simulation of the laboratory to become the artist laboratory space.
RD: Yes, this goes back to community research initiatives. The “Science of the Oppressed” that I took from Monique Wittig, the feminist philosopher and science fiction writer, means we can create community research initiatives that imagine effective processes of research, but always attached to that effective process of research as affect. And so, as one scholar has pointed out to me, the work that we do joins the A and E together so you get aeffect, in that the tool does indeed work.”
rest at http://rhizome.org/editorial/2016/jan/26/interview-with-ricardo-dominguez/