Infernal Noise Brigade vs. Krzysztof Wodiczko

As I read about the Infernal Noise Brigade, Jennifer Whitney, who wrote Infernal Noise: The Soundtrack of Insurrection, her excitement is palpable, and her expected outcome is overbearing. While preparing for gassing and possibly fatal injuries, she practices for a marching band disruption to the WHO protest. This noise and madness are to break up and move the protest, yet to further the protest by not letting the police seize control.  They feel the power and want to continue the disruption as they succeed, yet she does not let the idea of mob mentality come through in her writing. This causes the reader to question what action is too much and what is not enough.

The lasting effect of rebellion is crucial, and in Projection: Krzysztof Wodiczko, we see the interaction and responses of the people seeing these massive projections on monuments or buildings. Creating an image and laying it into a political realm or assumed space with an absurd image projected over it changes the meaning of the space as well as its representation. This action, like the microphone flanked by a gun and a candle representing prayers, has powerful layers to the political action we take for granted. With the building representing the institution and the images of the face or politician not represented yet, the actions are clear in leaving the viewer with a new image to invoke questioning on their perception.

While standing in protest and marches are critical, my voice asks about the risk and the effectiveness of the pseudo marching bands disrupting effect unrealized or misplaced while a leader is focused on two people protected in hotels. Where a projection work questions a broad sense as an item that does not deface the institution or the people but resurfaces a vision and opens up the mind to push in new ways that loud noise and pain seep to the point in far different ways. Maybe the writer and art historian leaned on righteous actions, such as how she cycled between places, left her corporate job, and first disrupted the working class at Starbucks. In this the reader can find her point diluted, and a more self-fulfilling or reassuring image arises. Where Wodicko is using other artists to make sure the image is just right, the concept is clear and stays on each issue that he focused on. With staying out of the personal nuanced additives, the noise of others, or the mob mentality. Politically Krzysztof’s work is the stronger longer-term difference-maker to the people.