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Iconomy ceased to be an abstract idea, the name of a theory about the image flow. The murder, and its instant electronic propagation via the posted video, precipitated an extraordinary eruption of protests on the streets of cities across the United States then around the world. On my arrival in Sydney, media was awash with stories about the killing of George Floyd, most featuring the cell phone video of it happening in real time. As part of a routine arrest for suspected petty theft, a White police officer placed his knee on the neck of a prone, shackled Black man who pleaded, in vain, for his life. While I was in the air over the Pacific Ocean, asleep, something occurred at a street intersection in Powderhorn, Minneapolis, that quickly proved to be of enormous consequence.
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As the plane took off, the prospect before me was a few weeks, with minimal distractions, to think more about iconomy, this plausible but fugitive idea. There was also Google Books, my University Library access to e-books and articles, and the many files I had on my laptop. Decades of thinking about these issues in the company of many others doing the same was my greatest resource. It would, I figured, be a familiar place from which to start over. I carried with me to Sydney a small cache of books, among them Guy Debord’s The Society of the Spectacle, the locus classicus for any thinking about the nature of image economies under capitalism. My response to 9/11 was The Architecture of Aftermath, published by the University of Chicago Press in 2006.īut the broader logic within which the contest of images is fought kept on eluding an analysis fitting its growing importance. The other side of this seemingly benign coinage became apparent at a moment when widespread trauma was occasioned by a war of images, when many of these buildings became targets. I was thinking about how certain buildings, then dubbed iconic architecture, stood as symbols of cities within a worldwide chain of such images, how they operated within tourist economies and broader public imaginaries. Like several others who have used this term before and since, I foolishly thought that I had coined it.
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I already had a name for this economy of images: iconomy, a simple combination of the Greek words for icon and economy. I had resolved to devote the coming days to revisiting an idea I have, for decades, taken as a given but never had time to think through: that the visual imagery so pervasive in contemporary life might exhibit definable structures, elusive and changeable but consistently so, just enough for its histories to be written and its emerging shapes perceived. The strict lockdown conditions due to the pandemic meant that for the first 2 weeks I was confined to a hotel room, no argument, no exceptions, no problem. I began writing these chapters while in quarantine in Sydney, having flown there from the United States on May 25, 2020, anticipating my usual three months stay. Having arrived at the term “iconomy” in the years just prior to 9/11, and tracking its growing relevance since then, Smith argues that its study does not require a discipline serving nation state and globalizing capitalism but, instead, a deconstructive interdiscipline that contributes to the politics of planetary world-making. Presidents Trump and Biden, Black Lives Matter, as well as the rise of a “black aesthetic” in white artworlds. This book explores viral imagery-the iconopolitics-of the pandemic, U.S.
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From Plato, through medieval iconoclasm, Marx, Benjamin, and Debord to recent critical theory, the question becomes more urgent. It questions whether an image economy, an iconomy, in these two senses can be identified. While immersed in public politics and private imaginaries, such imagery also operates according to its own logic, potentialities, and limitations.
ICONOMY DOWNLOAD MODS
Minecraft server mods and plugins.Iconomy: Towards a Political Economy of Images argues that imagery of all kinds has become a definitive force in the shaping of contemporary life.