by Jochen Szangolies
When asked about the foundational technologies of human civilization, most people will probably point to the wheel, or fire, or maybe the lever. Perhaps the atlatl as arguably humanity’s first machine might make the cut. Few, I think, would point to the humble fence: rather than being a construct, fences often seem to us merely a recognition of divides already present, and thus, hardly a separate technology on their own. The land is divided according to ownership, and the fences erected upon it merely mark this preexisting reality.
In truth, fences, both physical and metaphorical, fulfill an important role in the transition from a natural, unmodified, technology-free world to a reality structured according to human design. Their prevalence in metaphor is evidence of this: you can sit on them, tear them down, they are in our heads, the grass is greener on their far side, good ones allegedly make good neighbors, you can mend them, or swing for them in an attempt to achieve your most far-out performance.
The primary role of the fence is that of demarcation. Put on an originally pristine plain, it divides it into a ‘here’ and a ‘there’. Interpreting each side in terms of possession, it distinguishes between ‘mine’ and ‘theirs’; in terms of identity, it separates ‘us’ from ‘them’. It takes a continuum of possibilities and replaces it with a sharp distinction. As such, it is the original digital technology.
(Parenthetically, fences are also the original capitalist technology: not just in defining the notion of ownership, but through the concept of enclosure, the appropriation of common land that was worked by all, to be rented back to its original cultivators.)
Fences are the ultimate expression of the human tendency to categorize, to parcel off, to structure. They are a quintessentially lobsterian creation: as its hard carapace rigidly shields its vulnerable interior from a dangerous environment, so does the fence protect the shepherd’s flock from the roaming wolf. As the lobster’s analytic claw dissects whatever catches its attention, so do fences slice the land into discrete plots.
There is no question of the usefulness of fences. But the impulse to dissect, to rein in, and to replace vague continua with clear boundaries can all too easily result in a misplaced concreteness where real ambiguity exists, and in hard dichotomies where the reality is one of continuity across perceived differences. Read more »
Nandipha Mntambo. (Unknown title) 2008.
I recently watched the lovely film, 
That’s a highly condensed form of an idea that began with this thought: You have no business making decisions about the deployment of technology if you can’t keep people on the dance floor for three sets on a weekday night. There are a lot of assumptions packed into that statement. The crucial point, however, is the juxtaposition of keeping people dancing (the groove) with making decisions about technology (the machine).
During the year I lived in Thailand, I learned it was common for businesses to pay “protection fees” to the local police. When I subsequently worked in Taiwan, I learned the same basic rules applied. In China, a little money ensured government officials stamped contracts and forms. When I lived in Bali, the police sometimes setup “checkpoints” along key roads where drivers slowed, rolled down their windows and handed cash – usually 20,000 rupiah (roughly $2 USD at that time) to an officer – not a word exchanged.
The National Library of Kosovo is perched above downtown Prishtina. Built in the early 1980s and now with holdings of some two million, the complex resembles a mashup of Moshe Safdie’s Habitat with a flying squadron of geodesic domes, the whole unaccountably draped in chainmail. During the war in Kosovo in the late 1990s, the building served as a command center for the Yugoslav Army, which destroyed or damaged much of its collection of Albanian-language literature; the Library’s refurbishment and maintenance today thus signals the young Republic’s will to preserve and celebrate its culture.
Reverence for that culture—Albanian culture in general, not limited to the borders of contemporary Kosovo—is on egregious display throughout Prishtina. The library looks across at the Cathedral of Saint Mother Teresa, erected in honor of the Skopje-born Albanian nun in the postwar period; her statue and a square bearing her name can also be found further north, on Bulevardi Nënë Tereza.
Mother Teresa Boulevard ends in a broad piazza in which Skanderbeg (or Skënderbeu), the nom de guerre of Gjergj Kastrioti, the 15th-century hero of Albanian resistance to Ottoman rule, faces a statue of Ibrahim Rugova, the Kosovo-Albanian man of letters who served as the Republic’s first president during the 1990s and until his death in 2006. The piazza also features an homage to Adem Jashari, a founding member of the UÇK whose martyrdom at the hands of Serbian police, along with 57 members of his family at their home in Prekaz in 1998, is commemorated with a national memorial site, while his name has been bestowed on Prishtina’s airport and other notable institutions.