Search results for 'spectacle'

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((( i ))) " the whole organism is more than watching " 

Trouble is in bloom ! Across the globe there's the irrepressible sensation that the indy media makers will spread faster than the Clear Channel acne-brand of entertainment pustules and prozac-like programming, synergize far more dramaticly than the Republican grey goo version of capitalism ...

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Mediate YourSelf! 

At the end of the third 'Next 5 Minutes' conference on tactical media (March 1999) in Amsterdam, an interesting discussion emerged around the question of how the minor media practices elaborated and highlighted in this vibrant event would ever reach a wider audience for lack of being covered by any mainstream outlet. At one point, some people from the back of the room (unfortunately I don't know anymore who exactly, I believe an Italian group), shouted: 'We don't want to be mediated - we mediate ourselves!'

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What is Mental Environmentalism? 

A brief history of "The Journal of the Mental Environment."

The core idea behind Adbusters, the essential critique that motivates our struggle against consumer society, is mental environmentalism. And for seventeen years, since the seventh issue of Adbusters was published in 1993, the subtitle of the magazine has been "The Journal of the Mental Environment". But, what exactly is mental environmentalism?

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Electronic Civil Disobedience, Simulation, and the Public Sphere 

What counts in the long run is the "use" one makes of a theory....We must start from existing practices in order to retrace the fundamental flaws.
--Felix Guattari, "Why Marx and Freud No Longer Disturb Anyone"

In 1994, when Critical Art Ensemble first introduced the idea and a possible model of electronic civil disobedience (ECD) as another option for digital resistance, the collective had no way of knowing what elements would be the most practical, nor did it know what elements would require additional explanation. After nearly five years of field testing of ECD by various groups and individuals, its information gaps have become a little more obvious and can finally be addressed.

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Culture Board for Bulgaria 

A Body for Cultures in Ruin

For Whom It May Concern,

We would like you to read this document and respond to this idea. It was our wish and motivation to consider a format which could accommodate certain situations in which countries and cultures find themselves in these days. Ever increasingly, we are witnessing the phenomena of ruined nation states, crashing financial markets and bankrupt governments. So far, this is only interpreted in the usual journalistic way of reporting the political and financial aspects of the crises. But we, cultural workers, know better. It is only perceived as 'news'. Arts and culture in this situation are the last to be considered contemporary, sensitive instruments that could express the 'signs of the times'. First of all culture is a prime target of budget cuts and this has become the only language in which officials can speak. Art, by definition, is always in a defensive role and cannot make demands. We do not like to further the culture of complaint, nor is this the right time to dream up new utopias. We propose to radically face current global economic forces. We want to intervene in their sphere. Culture should not be left out: condemned to compensate for and be at the receiving end of this trauma.

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Bodies of Fear in a World of Threat 

They wanted the Germs; they got 'em. - Darby Crash

The use of the symbolic abstraction of fear as an exchangeable sign has always been a helpful means to justify and manifest the most perverse needs of authority invested in the expansion of militarized orders and the erasure of individual autonomy. But in the United States after the 9/11 attacks, fear reigns supreme as a fundamental unit of exchange across the entire political, economic, and military spectrum.

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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.

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    Crisis / Media 

    Sarai-Waag Workshop at Sarai-CSDS, Delhi March 3-5, 2003

    "The hottest place in hell is reserved for those who tried to stay neutral in times of crisis..."
    - The Inferno, Dante Alighieri

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    CHANCE 2000: Vote yourself! Just do it! 

    Germany 1998: 2 years before the New Millenium a new form of Political Party came into existence: CHANCE 2000 - The Party of the Last Chance. In the midst of an election that was one of the most important in postfascist Germany an artist jumped into the political arena to "make politics more aesthetic and aesthetics more political". The film- and theatremaker and talk show host Christoph Schlingensief started the Campagne: "VOTE YOURSELF!" In Berlin he started the project with an "Election Circus". Together with a famous circus-family from former East Germany and with his crew of actors and his family of handicapped performers he founded "CHANCE 2000 - Party of the Last Chance" in a circus tent in Berlin/ Prenzlauer Berg. The message for the Republic was: "Vote Yourself, we know how to do it!" Every citizen was asked to become an independent candidate for the new Bundestag. Manuals were sent out how to become a direct candidate. And many different people realized their chance to "prove that they exist" by bringing their name on the ballot sheet: "Chance Meier", "Chance Mueller", "Chance Schmidt". If you managed to collect 200 signatures of support in your political region you were part of the game and you could vote yourself. Why not voting somebody you know by heart, you trust and love?

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    Utopian Promises-Net Realities 

    The need for net criticism certainly is a matter of overwhelming urgency. While a number of critics have approached the new world of computerized communications with a healthy amount of skepticism, their message has been lost in the noise and spectacle of corporate hype-the unstoppable tidal wave of seduction has enveloped so many in its dynamic utopian beauty that little time for careful reflection is left. Indeed, a glimpse of a possibility for a better future may be contained in the new techno-apparatus, and perhaps it is best to acknowledge these possibilities here in the beginning, since Critical Art Ensemble (CAE) has no desire to take the position of the neoluddites who believe that the techno-apparatus should be rejected outright, if not destroyed. To be sure, computerized communications offer the possibility for the enhanced storage, retrieval, and exchange of information for those who have access to the necessary hardware, software, and technical skills. In turn, this increases the possibility for greater access to vital information, faster exchange of information, enhanced distribution of information, and cross cultural artistic and critical collaborations. The potential humanitarian benefits of electronic systems are undeniable; however, CAE questions whether the electronic apparatus is being used for these purposes in the representative case, much as we question the political policies which guide the net's development and accessibility.

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