The existing use of media so far has been determined by the local, decentralized nature of the campaign. Local groups are adapting, editing and redesigning existing material like research results, lines of argumentation and logos, photos and slogans. The educational material, used by trade unions, schools and churches is very specific and "customized", and therefore cannot be used in campaigns which target the general public.
ReadThe McLibel media strategy arose from a simple premise: this story has
to be told. Most people have been affected by McDonald's in one way or
another - working in a store, being nagged by children, stumbling
through litter, suffering ill-health or enjoying their burgers - and
the corporation's influence continues to increase as they relentlessly
pursue their "global domination strategy" (to use their own words). Two
people investing their lives to stand up to such a force has got to be
a great story in anybody's book.
Franny Armstrong is a director of the McLibel documentary and obsessive McSpotlight fan, on new media's battle with the burgers.
ReadWhat counts in the long run is the "use" one makes of a theory....We
must start from existing practices in order to retrace the fundamental
flaws.
--Felix Guattari, "Why Marx and Freud No Longer Disturb Anyone"
In 1994, when Critical Art Ensemble first introduced the idea and a
possible model of electronic civil disobedience (ECD) as another option
for digital resistance, the collective had no way of knowing what
elements would be the most practical, nor did it know what elements
would require additional explanation. After nearly five years of field
testing of ECD by various groups and individuals, its information gaps
have become a little more obvious and can finally be addressed.
This is a short text [1] which appears in "Public Netbase: Non Stop Future. New Practices in Art and Media" edited by the fine people at the New Media Center_kuda.org, in cooperation with World-Information Institute / t0. This book was presented at Transmediale 2009 in Berlin.
http://nonstop-future.org
Tactical media as a practice has a long history and, it seems save to predict, an even longer future. Yet its existence as a distinct concept around which something of a social movement, or more precisely, a self- aware network of people and projects would coalesce has been relatively short lived, largely confined to the internet's first decade as a mass medium (1995-2005).
Felix Stalder is a researcher, economist, and media theorist, working in Zürich and Vienna. He is co-founder and co-moderator of the influential nettime mailing list for net criticism.
ReadArchivist, teacher, writer, lecturer and filmmaker. President, Prelinger
Associates, Inc., commonly known as Prelinger Archives. Co-founder
(with Megan Shaw Prelinger) of the Prelinger Library, an
appropriation-friendly reference library in San Francisco.
Founded
Prelinger Archives (New York and San Francisco), which at its peak held
over 48,000 ephemeral (advertising, industrial, educational, documentary
and amateur) films and over 30,000 cans of unedited (raw) footage. The
core film collection was acquired in August 2002 by the Library of
Congress.
In the past four years we have been accustomed to receive information on the extent of global signit work that has actually been going on without the knowledge of civil populations, communications infrastructure users and developers and in many cases even governments. A very quiet debate has started around issues arising from the knowledge about the ECHELON system, which has now spread also into mainstream politics, and we should be very careful observers of this processes. One should also be aware of the fact, that possible ?sister" systems exist in the EU countries, Russia, France and China, although not much is known about them, except what can be gathered from each countries encryption regulations, which in this respect can be taken as an information on each of the countries civil rights and signit polices. We can also assume that Israel possesses strong signit mideast oriented capabilities.
ReadBorn 1969 in Nova Gorica, Slovenia, Peljhan in 1992 graduated from the Academy for Theatre, Radio, Film and Television in Ljubljana. Also in 1992 he founded the arts organization 'Projekt Atol' and in 1995 Project Atol`s technological branch 'Pact Systems' (Projekt Atol Communication Technologies) in the frame of which he carries out research in the fields of performance, technology applications, radio, sound, video, film, lectures and situations.
Read
