Take The Square 

A 3-channel video installation by Oliver Ressler - 2012

The emergence of the movements of the squares and the Occupy movement in 2011 can be seen as a reaction by people who opposed and began to fight the massive increase in social inequality and the dismantling of democracy in times of global financial and economic crisis. The movements of the squares are non-hierarchical and reject representation; direct democracy shapes their activities. The occupation of public places serves as a catalyst to develop demonstrations, general strikes, meetings and working groups on different focal points. Successful site occupancies in one place often inspire occupations in other cities, without a linear relationship.

• politics,
• art,
• public space,
• street protest,
• tactical camping,
• occupy

At the End of the Tyrolean Way - re: "Elections are a Con" 

"My 'Wahlen sind Betrug' ('Elections are a Con') poster project was selected in November 2011 by a jury using an exemplary open process for the TKI open competition by TKI (Tiroler Kulturinitiativen) on 'No theme'. For the first time in the 10-year history of TKI open, the province of Tyrol (Austria) denied funding for an artistic work selected by a jury of experts.

• politics,
• art

We Make Radical Media You Make Adverts 

A corporate media group has trade-marked the phrase "Radical Media" and is trying to ban Peace news, New Internationalist, Red Pepper and others from using it in the title of a conference?

Following a recent Diary item in the Guardian, indymedia is today reporting on the story that a corporate media group has forced us to change the name of our conference. Readers are invited to attend a demonstration outside @Radical Media's London office, Tuesday, 3rd May 2011, 5pm, London W1T 7AA.

• activism,
• diy media,
• independent media,
• media criticism

Governmentality of Information 

The American military network ARPAnet was conceived as a way to maintain uninterrupted communications in the event of nuclear war. Ancestor of the Internet and foundation of the Global Information Infrastructure, ARPAnet springs from exactly the same source as the "push­button war" that lay behind it: the change of scale provoked by the early 20th century discoveries in physics, within an industrial society capable of organizing the productivity - including the scientific productivity - of thousands of agents. Here, no doubt, is the real birthplace of the information society: a society massively penetrated by the sciences and technologies of information and telecommunications, using them to carry out the design of the planet or at least, that of its components (with design replacing politics). A society whose governmentality entails the knowledge of the real, that is to say, the transformation of reality into information. A society whose governmentality unfolds between its smallest common denominators (atomic, electronic, magnetic, genetic, chemical) and its largest common denominators (climate, planet, solar system), by way of laws, formulas and norms that determine its productivity, means, and possible destinies.

• politics,
• cartography,
• infopolitics,
• info-activism,
• biopolitics

The Fascist Simulation 

In the United States, fascism presently unfolds as a simulation. The fascist simulation constitutes itself as a pixelated sea of livestreams, images, posts, and comments, circulating widely as its own networked, autonomous model of reality. It is enacted as an ensemble of people, social media platforms, presidential tweets, superspreader events, confederate flags, television chyrons, informatic infrastructures, automatic rifles, toxic masculinities, MAGA hats, racist hashtags, and video game servers. It is fascist ideology reified through consumer technology.

• politics,
• art,
• infopolitics,
• net criticism,
• media criticism,
• participatory media

The Occupied Times of London Editorial, Issue #23, "Technology", November 2013. 

The latest issue of The Occupied Times of London is devoted to the question of technology in contemporary forms of political contestation. The main question thrown up by  the editors is to ask: "What is technology for?" (TMF editors)

• politics,
• activism,
• tactical technology,
• occupy

Dark Markets 

Dark Markets is a two day strategic conference that looked into the state of the art of media politics, information technologies, and theories of democracy. A variety of international speakers inquired into strategies of oppositional movements and discussed the role of new media.

• politics,
• infopolitics,
• democracy

Tactical Media After 9-11 

It is tempting to portray '9-11' as a turning point. Gore Vidal warns that, since September 11, the US is in danger of turning into a "seedy imperial state." Make war, not politics. The new patriotism requires: "Disruption, including obstructing the view or hearing of others, will not be tolerated." The list of measures to restrict civil liberties, freedom of speech and privacy, or what?s left of it, doesn?t stop. A recent conference in Perth concluded that post-September 11 reporting adds to divisions and stereotypes. "The media's failure to provide more perspectives to news consumers and ask critical questions is fuelling a culture of fear and blame around the world, experts say."

• tactical media,
• 9/11

When Thought Becomes Crime* 

March 17th, 2005

How did it come to this?

Only a perverse authoritarian logic can explain how Critical Art Ensemble (CAE) can at one moment be creating the project "Free Range Grain" for the Risk exhibition at Schirn Kunsthalle in Frankfurt, reconfiguring it for The Interventionists exhibition at Mass MoCA in a second moment, and then suddenly have a CAE member in FBI detention.   The U.S. Justice Department has accused us of such shocking crimes as bioterrorism, health and safety violations, mail fraud, wire fraud, and even murder.   Now, as we retool "Free Range Grain" for the Risk exhibition at the Glasgow Center for Contemporary Art, the surreal farce of our legal nightmare continues unabated.

• campaign,
• state repression

The revolution WILL be broadcast - at least locally 

This essay provides a short and insightful overview of alternative television projects in the Italy of Berlusconi.

• tactical television,
• telestreet,
• Italy

A Virtual World is Possible: From Tactical Media to Digital Multitudes 

I.

We start with the current strategy debates of the so-called 'anti-globalisation movement', the biggest emerging political force for decades. In Part II we will look into strategies of critical new media culture in the post-speculative phase after dotcommania. Four phases of the global movement are becoming visible, all of which have distinct political, artistic and aesthetic qualities.

• politics,
• tactical media,
• infopolitics,
• net.activism,
• net criticism

Ten Premises For A Pandemic 

How much has changed in just a few days. Here is another text I've composed in an attempt to continue to think about the pandemic, and our lives within it. I hope it's of use, however minorly, as we all try to come to some kind of terms with the novel transformations, precarities, and struggles emerging in every direction.

~i

• art,
• theory,
• biopolitics,
• ecology,
• earth systems,
• virus

The tactics of occupation: Becoming cockroach 

The global occupy protest movement is proliferating by "contagion, epidemics, battlefields, and catastrophes".[1] Furthermore, it materialises and disperses in multiple ephemeral processes of transformation that construct a common for the multitude of protestors. The common produced by the global occupy movement is not a mutually shared opposition to the capitalist crisis, nor a collective identity (of the "indignados" or of the 99%), nor a consensual political project (for real, authentic democracy). The common does not even embody an identical strategy of occupying public space, but rather to a series of becomings that question established categorizations and taxonomies that normalize the production of subjectivities and the organisation of life.

• urban intervention,
• street protest,
• occupy

Art and the Paradoxical Citizen 

To the Arts, Citizens: it's a fantastic title. Hearing it, anyone who's been involved in political activism will probably think: "At last we're getting somewhere." The idea that art is part of citizenship, that there is a democratic exercise of the arts within the framework of public life, and that this appeal to the citizen-artist can be supported by a major cultural institution, is about as progressive as you could get today. Especially since this is a direct echo of the French republican tradition, where the phrase, Aux armes citoyens, is nothing less than a call to rise up and institute democracy against tyranny ? in other words, a call to revolution. The Portuguese know the meaning of this revolutionary call to arms from decisive historical events that are still in living memory. So one can imagine that the organizers of this exhibition did not take their title lightly.

• art

N5M3 South Asia Forum Presentation 

Working with new media in the part of South Asia that I come from is something like crossing a tightrope on a bicycle. The bicycle which could have helped me along were I on my way on flat ground makes the crossing that much more precarious. Consider the bicycle to be the single computer and the internet connection which I use along with at least seventeen other people, friends, colleagues, neighbours and complete strangers.

Notes on Culture Jamming 

"Culture-jamming," a term I have popularized by articles in The New York Times and Adbusters, might best be defined as media hacking, information warfare, terror-art, and guerrilla semiotics, all in one. Billboard bandits, pirate TV and radio broadcasters, media hoaxers, and other vernacular media wrenchers who intrude on the intruders, investing ads, newscasts, and other media artifacts with subversive meanings are all culture- jammers." Mark Dery

Damn the Networks! Victory to the Imagination!
Yogi in Craig Baldwin's "Spectres of the Spectrum"

• culture jamming

Extinction Rebellion 

Extinction Rebellion is an international movement that uses non-violent civil disobedience to achieve radical change in order to minimise the risk of human extinction and ecological collapse.

• activism,
• street protest,
• climate,
• ecology

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).

• art,
• community media,
• participatory media

Is It O.K. to Be a Luddite? 

[Originally published in: The New York Times Book Review, 28 October 1984, pp. 1, 40-41.]

Minor Media Normality in the East 

1. Autogenerative Europe

In our imagination, eastern Europe was always black and white. Traveling to East Germany or Poland meant suddenly leaving colorful western Europe and entering a movie from the forties or fifties. Later we simply couldn't remember having seen any color, not the green of the trees, nor the red of the brick buildings. When we went to the movies to see a film by Wajda, Kieslowski or Tarkowsky, the filmmaker's experiments with color only reinforced our image of the east as gray. Europe clearly had an ideologically motivated neurosis when it came to the perception of color.

• art,
• network cultures,
• deep europe