Search results for 'politics'


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Publication: Legacies of Tactical Media - The Tactics of Occupation: From Tompkins Square to Tahrir. 

Out now and available for download:
INC Network Notebooks 05 - Legacies of Tactical Media
Tactical Media employ the 'tactics of the weak' to operate on the terrain of strategic power by means of 'any media necessary'. Once the rather exclusive practice of politically engaged artists and activists, the tactical appropriations of media tools and distribution infrastructures by the disenfranchised and the disgruntled have moved from the margins to centre stage.

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Interfund report 

Subject: [Interfund] - Create Your Own Solutions
Date: 03.12.98, 21:54:24

Interfund meeting  {AT}  Xchange Unlimited, Riga November 29, 1998.

During the Xchange Unlimited Baltic New Media Culture Festival in Riga a meeting was held to discuss the creation of the Interfund. The participants were Diana McCarty, Rasa Smite, Manu Luksch, Pit Schultz, Eric Kluitenberg, and others.

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    Notes on the Future of Activism 

    Contemporary activism begins from the realization that for the first time in history, a synergy of catastrophes face us. Our physical environment is dying, our financial markets are collapsing and our culture, fed on a diet of junk thought, is atrophying -- unable to muster the intellectual courage to face our predicament.

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    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.

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    The Logos Fight back 

    The culture jammers tried to subvert the big brand names. But the smart advertisers now use guerrilla tactics themselves, according to James Harkin

    In a recent newspaper interview, Kalle Lasn was interrogated about Adbusters, the Canadian anti-advertising magazine that he founded.


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    1st ArtLeaks Working Assembly 2012 

    ArtLeaks invites you to a public working assembly around the issues that are at the core of the group's mission - exposing instances of abuse, corruption and exploitation in the art world. This is the official public launch of our platform, which began to operate in September 2011, and will be followed by a series of debates and workshops in the near future. These present a unique opportunity to engage more directly with conditions of cultural work that affect not only artists but creative workers in general: those from the traditionally creative fields as well as those generally involved in cultural production.

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    Art is not "Bioterrorism' 

    A live benefit concert and performance event with Snowcrash (.nl), The Yesmen and Critical Art Ensemble in support of artist Steven Kurtz and scientist Robert Ferrell, both threatened by an unjustifiable prosecution for "bioterrorism".

    Presented in collaboration with:
    Transmediale Festival, Berlin
    & The Arts Catalyst, London

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    Debates & Credits 

    Media Art in the Public Domain

    Debates & Credits was a Russian / Dutch art and media project which has invited four artists and artist collectives from Russia and four from The Netherlands to develop interventionist (media-) art works for the public space.

    The project happened in three stages:
    Amsterdam, September 11 - 22
    Yekaterinburg, September 26 - 29
    Moscow, October 7 - 13

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    Media, Activism and Society of the Spectacle 

    Our ability to move into a collectively imagined future has been trapped in an ever-present now, composed of continually transmitted images. The spectacle accompanies us throughout our lives. News, propaganda, advertising, entertainment and social media present a continuous stream of imagery, projecting a constant justification for how our culture is formulated. When Guy Debord first published The Society of the Spectacle in 1967, the digital revolution was still decades away and the technological capacity to project images into every corner of our lives was far less developed than it is today. The spectacle is no longer simply all of the time; it is also everywhere. More than ever before, Debord's words apply: "Everything that was directly lived has receded into a representation."

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    Welcoming the Iraqi Invasion Act 

    On the occasion of the action by refugees-on-the-street who started a camp outside the Collective Center at Ter Apel in the north of the Netherlands on the 8th of May, Jo van der Spek of M2M wrote the following column. These migrants are supposed to return voluntarily to their country, because the Dutch government believes that they are not in danger there. However the governemnt in Iraq refuses to take them back if they are forced. So they have nowhere to go to, no right to be here and no way to go there. But they act together for a chance to live and live better than before. Why not?

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    make world paper 2 

    The World Social Forum, organized twice in Porto Alegre 2001 and 2002, not only prompted a flurry of autonomous self-organization, crossborder organization, and creative media interventions. It also initiated an intense process of analysis and reflection on the tricky question of a 'global' dynamic of self-organization.

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    The Situationists and the New Forms of Action in Art and Politics 

    The Situationist Movement can be seen as an artistic avant-garde, as an experimental investigation of possible ways for freely constructing everyday life, and as a contribution to the theoretical and practical development of a new revolutionary contestation. From now on, any fundamental cultural creation, as well as any qualitative transformation of society, is contingent on the continued development of this sort of interrelated approach.

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