There is a last enterprise that might be undertaken. It would be to seek experience at its source, or rather, above that decisive turn where, taking a bias in the direction of our utility, it becomes properly human experience. (Bergson, 1991: 184).
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?In Central and (South-) Eastern Europe the cultural landscape has entered the Post-Soros Era, while still awaiting the arrival of the widely expected EU patronage for the arts and the civil sector ?? (from the original description of the ?Enduring Post Communism? panel)
Translating the abstraction—and banalities—of the Anthropocene into readable cartography has resulted in many past attempts that often ended up reproducing those same qualities. But, as Brian Holmes asserts in this essay, we seem to have found ourselves in a moment where collaboration, engagement, and new forms of knowledge exchange are breaking that deadlock. Tracing his own involvement with artistic practices that both engage with and attempt to represent a “political ecology,” Holmes explains how the evolving, collaborative cartographic practice that brought the "Mississippi. An Anthropocene River map" into being simultaneously reveals and interrogates the power structures of Anthropocence society.
ReadNo one recognises these powers as their own
(Why Theory?) We have to dispense with the idea that theorising occurs
after the creative event; that a poem or a track or a text is made and
then, as part of its process of dissemination, there follows the
theorising of the piece. Such a theorising is normally attributed to
those known variously as critics, reviewers and essayists.
Streaming media deliver video or audio content over the web. But streaming media are very different from the web. In the UK such formats force BT to breach the Broadcasting and Telecommunications Act. To the grass-roots activist web-critics, this might be the right (and most likely only) time to pull the plug and prune the web. Alternatively we could happily stream on and witness how independent media production will be pushed to the periphery of the new order. Here is one of many scenarios...
That guerrilla video is now the subject of historical reflection is
probably a sign of its demise. There has been a recent flurry of
archival and publishing activity centering on experiments made in the
'70s. In 1997, the Chicago-based Video Data Bank released Surveying the
First Decade, a compilation of work from the early days of video, and
Oxford University Press published Deirdre Boyle's Subject to Change:
Guerrilla Television Revisited, the definitive study of the video
movements of the late 1960s and '70s. These reflections on the utopian
impulse in early video provide an opportunity to think about the
present state of media in this country, in particular those movements
that have attempted to create electronic space for non-commercial views
that run counter to the mainstream.
A Salvage Operation:
Ontologies of the Drone
Amplifying Expertise
A Salvage Operation
On a clear evening in December, as the sun was setting over the Texas
horizon, a Mexican drone entered U.S. airspace and crashed into a
backyard in El Paso.
The antiwar demonstrations of February 15, 2003 proved it: theself-organization of free singularities is possible on a planetaryscale. And that was an event, despite all that followed. In amanifesto-text written just after those demonstrations, I used thelanguage of Negri and Hardt to say that the multitudes could create arift in Empire. In a context where the Aristocracy (the greattransnational companies) had been weakened by a string of financialdisasters, where the Monarchy (the political and military command ofthe earth) had fallen apart in serious dissension, I wanted toencourage the democratic action of the Plebe, against the scorn of theAmerican, British, Spanish and Italian leaders. It was a moment thathad multiplied the world's political stages, overflowing thetraditional mechanisms of representation.
Programming produced by any big transnational TV network (CNN, BBC, etc.) is, from the standpoint of an Internet user, similar to an Aggregator site distributing video material. It may also function as a portal providing a variety of material of interest to the viewer. Similarities abound - sections of a transnational TV network correspond to parts of an aggregate site: a program schedule is analogous to a web site index, news programs function as general information about the portal's community, shows represent particular web pages or sections on the portal. Most importantly, both TV network and a Web portal try to fulfill the basic media mission: to define its own reality and broadcast it that reality to potential followers - TV viewers or Internet users.
ReadInternet policy is hard to enforce, but there is no harm in thinking it through. On the other hand, whatever order there is in the Net is generally the result of focussed self-organization: namely that the elements that constitute the medium, technology, market, infrastructure, policy and consumers, fall into place rather quickly and often better than expected.
ReadIn 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.
Read1. Toward a European Standard Code for Critical Interchange (ESCCI)
Bezeichnen wir das Internet einfach einmal als 'Kind der Moderne', soist das klassische Genre der Kritik sicherlich ein Teil davon. Im nochandauernden Zeitalter des multikulturellen Massenkonformismus, vollerMikropraxis und Ich-Management, ist die Kunst der Kritik jedoch inVergessenheit geraten. Die hiesigen Kommentare zielen nur noch aufKorrektur von Verhaltensweisen ab. Die Meinungsmacher/innen haben allesAngebotene laengst hinter sich, sie sehen das Ganze wirklichdifferenziert, aus sicherem Abstand. Die glueckliche Tatsache, man seieben nicht engagiert, wird als persoenliche Errungenschaft gefeiert.Solche talking heads ohne Eigenschaften sind aber nutzlos in Zeitenrascher Entwicklungen, sowie das beim Wachstum der Computernetze imMoment der Fall ist.
If media theory over the last 40 years largely understood media as hopelessly contaminated by capitalism, the quietism implied by this critique also met its challenge in Guattari's concept of 'becoming-media'. Here Clemens Apprich revisits key media political debates to imagine post-media approaches in the age of social media.
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