Abstract

John Kinsella remains Australia’s most militant, morally cognizant naysayer, and his oeuvre is an archive of precepts running counter to master narratives of place. This essay re-reads Benjamin’s notion of the artist as cultural producer against the grain of Esposito’s etymological excavations of “community,” and frames Kinsella’s steady output of co-authored books as not only a mode of nomadic munificence but no less than a kind of formative guerrilla poetics. Pairing with poets, rock stars, others to extend his anti-capitalist project, Kinsella’s co-authored works perform a suite of interventions, gifting readers a means by which we too might fathom the generative effects of banding together in a munus speaking its own laws (and lore) to reconfigure notions of co-empowerment, equity, and indeed comradeship. Each of Kinsella’s co-authored books constitutes an intentional community of two and, as if dwelling in compositional possibilities, each text remains steadfastly optimistic. Refusing to be locked into despair by regressively instrumentalist political non-visionaries, from within an Antipodean milieu Kinsella and his many co-authors materialize gestures demonstrating how we might struggle for control of who gets to produce ideas, by which decentralized means, and to which generative ends.

摘要

约翰·金塞拉（John Kinsella）仍然是澳大利亚最激进的，道德上公认的反对者，他的作品是一系列与地方叙事背道而驰的戒律的档案。本文重新阅读了本杰明关于艺术家作为文化生产者的观念，反对埃斯波斯托（Esposito）对“社区”的词源发掘，并把金塞拉的合著作品稳定地描述为一种游牧的方式，但不亚于一种形成性的游击诗学。Kinsella的合著作品与诗人，摇滚明星以及其他人一起扩大了他的反资本主义计划，进行了一系列干预，为读者提供了一种手段，使我们也可以了解在乐队中团结在一起所产生的影响。说出自己的法律（和知识）以重新配置共同授权，公平甚至同志的概念。Kinsella的每本合著书籍都是由两个人组成的有意社区，并且似乎都寄希望于构图的可能性，因此，每本著作都始终保持乐观的态度。在对立的环境主义者金塞拉和他的许多合著者内部，拒绝被渐进的工具主义政治非视线者束缚在绝望中，这些手势体现了我们如何为控制谁去产生思想，如何通过去中心化的手段以及向何而去而奋斗的姿态。生成目的。