Search results for 'art of campaigning'

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Do It With Others (DIWO): Participatory Media in the Furtherfield Neighbourhood 

The Furtherfield community utilizes networked media to create, explore, nurture and promote the art that happens when connections are made and knowledge is shared - across the boundaries of established art-world institutions and their markets, grass-roots artistic and activist projects and communities of socially-engaged software developers. This is a spectrum that engages from the maverick media-art-makers and small collectives of cross-specialist practitioners, to projects that critique and change dominant hierarchical structures as part of their art process.

This text will provide a brief background as to how Furtherfield, a non-profit organization and community, came about and how it extends the DIY ethos of some early net art and tactical media, said to be motivated by curiosity, activism and precision, [01] towards a more collaborative approach that Furtherfield calls Do It With Others (DIWO).

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Art Rant 

Geert Lovink wrote:

A gap is now in danger of getting bigger: old school video journalism, done by political activists, versus a thriving technology based network of media artists. Complaints about an 'eighties' style of amateurism of video works are on the rise. On the other hand, a depolitization of electronic arts is apparent as well. Or do we speak here about a mutual non-understanding? A return of the outworn difference between activist and artist? Can the concept of 'tactical media' present itself as a easy synthesis?

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Trade Secrets Trolls 

A dangerous new legal doctrine is lurking:
The unrestricted Trade Secret protection

Xnet launches a video campaign at European level, in collaboration with numerous civil society organizations such as Corporate Europe Observatory, EDRi, la Quadrature du Net, Health Action International, P2P Foundation, Initiative für Netzfreiheit, Commons Network, to expose the threats of the new legal doctrine on Trade Secrets for whistleblowers, freedom of press and information, workers and consumers, health and the public interest.

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In memoriam: Oleg Kireev 

On Friday April 3, 2009 we received the terribly sad news that our friend and ever inspiring colleague Oleg Kireev from Moscow had died, apparently as a result of suicide. We are left behind as friends and colleagues, bereaved and puzzled by this dramatic fact. Kireev was a prominent guest in some of the most important projects in the art / media / politics triangle, which we had the honour developing at De Balie. Kireev was a crucial figure in circles of free culture, media activism and the arts in Moscow, one of the most demanding environments for such activity one can think of.

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Notes on the Politics of Software Culture 

Software has, over the last few years, increasingly come into view as a cultural technique whose social and political impact ought to be studied carefully. To the extent that social processes rely on software for their execution - from systems of e-government and net-based education, online banking and shopping, to the organisation of social groups and movements -, it is necessary to understand the procedural specificities of the computer programmes employed, and the cultural and political 'rules' coded into them.

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    How to make a point 

    It has been a preoccupation of mine in imagining the supermarket as a locus for political assembly. Clearly, it has already overtaken religious assembly. In the UK the big brand Supermarkets like TESCO and SAINSBURY are principle organizers of daily life. The ritualized relationship between customer and supermarket have been carefully constructed and maintained to a degree that compares to the construction of religious faith.

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      Drazen Pantic

      Mathematician and open-source developer Drazen Pantic was deeply involved with Serbian Radio B92 in Pozarevac, Yugoslav President Slobodan Milosevic's home town.

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        Luther Blissett

        "Luther Blissett" is a multi-use name, an "open reputation" informally adopted and shared by hundreds of artists and social activists all over Europe since summer 1994.

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          We are not surprised. 

          We are not surprised.

          We are artists, arts administrators, assistants, curators, directors, editors, educators, gallerists, interns, scholars, students, writers, and more—workers of the art world—and we have been groped, undermined, harassed, infantilized, scorned, threatened, and intimidated by those in positions of power who control access to resources and opportunities. We have held our tongues, threatened by power wielded over us and promises of institutional access and career advancement.

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