Motivated by the theories of Richard Stallman, Lawrence Lessig, Geert Lovink and David Garcia, Brazilian Internet users, activists and artists are, more and more, developing attractive activism and tactical media projects.
ReadExtinction 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.
ReadTo 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.
ReadArthur Kroker, Canadian media theorist and is the author of 'ThePossessed Individual', 'Spasm' and 'Hacking the Future'. Over the pastyears he, together with Marilouise Kroker, were often in Europe andmade appearances at Virtual Futures, V-2, Eldorado/Antwerpen, etc.Recently, they have also been discovered in German-speaking countries.Both are noted for their somewhat compact jargon, which made theirmessage appear to drown somewhat in overcomplex code. But "DataTrash"`(1994) changed all that. The long treck through the squashydiscourses had not been in vain. Firmly rooted in European philosophy,yet not submerged, Arthur Kroker has found his topic: the virtual class.
Next 5 Minutes: tactical media was a conference and exhibition that took
place at Amsterdam's Balie and Paradiso and at Rotterdam's
V2_Organisation from January 18th till January 21st 1996. The
conference was officially opened Thursday evening in Rotterdam with a
performance of the Critical Art Ensemble from Chicago about the matter
of media.
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.
Tactical Media are what happens when the cheap 'do it yourself' media, made possible by the revolution in consumer electronics and expanded forms of distribution (from public access cable to the internet) are exploited by groups and individuals who feel aggrieved by or excluded from the wider culture. Tactical media do not just report events, as they are never impartial they always participate and it is this that more than anything separates them from mainstream media.
"We take from the rich and give to the poor.
Alright you redeemers, rebels and radicals out there,
We're living through a magical moment ... #OCCUPYWALLSTREET has catalyzed
into an international insurgency for democracy ... the mood at our
assemblies is electric ... people who go there are drawn into a Gandhian
spirit of camaraderie and hope for a new kind of future. Across the
globe the 99% are marching! You have inspired more than you know."
(C) Mark Dery 1996; all rights reserved; reproduction in any medium without author's written permission forbidden.
The Strategies for Tactical Archives conference investigates how documentation and archiving can feed into living practices of activists, artists and media makers that address the position of communities who feel aggrieved or excluded from the wider public culture.
The program consists of a public keynote lecture on Friday evening October 27 (starting 19.30) by Sarah Schulman, writer, activist and co-initiator of the ACTUP Oral History Project and author of Let the Record Show - A Political History of ACTUP New York, 1987-1993. This is followed by a one day conference on Saturday October 28 (10-17 hrs.) at Nieuwe Instituut, Rotterdam.
#DefundThePolice / #InvestInCommunities
May 30, 2020
Enough is enough.
Our pain, our cries, and our need to be seen and heard resonate throughout this entire country.
We demand acknowledgment and accountability for the devaluation and dehumanization of Black life at the hands of the police.
Exploring the radical shift in the boundary between fiction and reality in a world increasingly governed by ‘post-truth’ politics
Exhibition @ FACT (Foundation for Art and Creative Technology), Liverpool, 2 March 2017 - 21 May 2017
Public Opening: Thursday 2 March / 6 - 8pm / All galleries
Facial Weaponization Suite protests against biometric facial recognition–and the inequalities these technologies propagate–by making "collective masks" in community-based workshops that are modeled from the aggregated facial data of participants, resulting in amorphous masks that cannot be detected as human faces by biometric facial recognition technologies.
ReadARTPLAY, Small Hall, Moscow, Russia
Dates: October 23rd - November 6th, 2013
In the second half of the 20th century, anarchist artists from PROVO,
feminist movement Dolle Mina, Amsterdam squatters and media activists
influenced Dutch state politics and changed public opinion with their
sensational actions. What were they fighting for and what has become of
activist art today? The exhibition tells the story of creative protest
movements in the Netherlands from 1960s till 1990s, when those movements
flourished, and also includes pieces by contemporary artists working
with political themes today.
This discussion explores tactical media in contemporary culture and social movements. In response to a deep economic, political, and cultural crisis, new social movements are challenging the dominant political and economic order. Tactical media, David Garcia says, has emerged through, 'the impact of the rise of small-scale DIY media, tools and networks in art, social and political activism, and the rise of new social movements.' How can tactical media connect with and re-contextualise the traditional methods of propaganda and create new alternative forms of action for the future?
ReadAn all day performance event at Duarte Square, 6th and Canal
On Saturday, December 17th, noon, Occupy Wall Street - with support from more
than 1400 faith leaders, elders of the civil rights movement, prominent
artists and community members - will gather at noon in Duarte Square,
downtown Manhattan, for an all day performance event. This event is part
of a call to re-occupy in the wake of the coordinated attacks and
subsequent evictions of occupations across the nation and around the
world.
From February 27th to 29th young artists, filmmak- ers, musicians, theorists and activists from all over Europe and many other parts of the world meet at the Muffathalle in Munich for NEURO; a number of events, speeches, discussions, presentations, performances, concerts and actions reflecting the pulse of the age. About two years after the first make-world festival, NEURO will again interface with current debates around migration and mobility, racism and nationalism, civil society and global mobilisation, networking and new technologies, informatisation and precarious labour, education and control society, common organising, and digital culture.
ReadThereis no place in the Netherlands for the odd one out. Strangers can beassimilated or deported and sick people can be cured or euthanised, butthe dreamer and the bohemian will not fit in a straight-jacket. Thereare only paved roads to follow in this country and those who cannot orwill not follow these roads are doomed. Sooner or later that odd oneout will be given a choice: either he will lay hands on himself or hewill be lend a hand with his choice. After that he can rot in his graveuntil after long the time is ripe to memorise his peculiarity at astrictly limited occasion.
ReadTechno-parasieten zijn volgens de definitie van Hobijn 'apparaatjes die gebruikmaken van gedeeltes van onze verworvenheden, speeltjes behept met opmerkzaamheid die technische storingen tot gevolg hebben.' Technoparasiet 00020004C leeft van de lantaarnpaal. Het is een soort bloemkelk dat het regenwater opvangt en het licht van de lantaarn omzet in energie, met als doel het creëren van een potentiaal verschil. Het regenwater wordt gebru ikt om het proces te versnellen. Hiermee wordt eerst de zinklaag aangetast en op den duur ook de ijzerlaag aangevroten zodat de lantaarnpaal wordt doorgezaagd en omvalt. Een andere parariet klimt in een spiraalachtige beweging langs de lantaarnpaal omhoog. Het motortje loopt op lichtenergie, heel langzaam. Boven aangekomen slaat hij ineens het glas en lamp kapot, vermoord zo zijn voedingsbron en valt dan naar beneden.
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