Search results for 'tactical+media'

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Ian Alan Paul

Ian Alan Paul is a transdisciplinary artist, theorist, and curator. His practice includes the production of experimental documentary, critical fiction, and media art, aiming to produce novel conditions for the exploration of contemporary politics, ethics, and aesthetics in global contexts. His projects have approached a wide variety of topics including the Guantanamo Bay Prison, Fortress Europe, the Zapatista communities, Drone Warfare, the military regime in post-revolution/post-coup Cairo, and most recently with the history and future of Palestine.

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The Yes Men

The Yes Men are a group who use any means necessary to agree their way into the fortified compounds of commerce, and then smuggle out the stories of their undercover escapades to provide a public glimpse at the behind-the-scenes world of big business.

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Final Program: As If / Vox Populi / The Syrian Archive / The Society of Post-Control 

Tactical Media Connections public program, Amsterdam January 20 - 22, 2017.

As part of the Tactical Media Connections public research trajectory tracing the legacies of Tactical Media and its connections to the present, a series of public events take place in Amsterdam between January 20 and 22, 2017. The public program includes an exhibition at Framer Framed in the Tolhuistuin cultural centre, opening on Friday January 20; a Meme Wars Lab workshop on Friday January 20; a public debate at Eye Filmmuseum on Saturday January 21, and a one day conference (‘The Society of Post-Control’) again at the Tolhuistuin on Sunday January 22.

Please find below a brief program overview, followed by a detailed description of the different parts of the public program.

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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.

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Erik Hobijn over techno-parasieten 

Techno-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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    The Avant-Garde Never Gives Up 

    The avant-garde never gives up. And tactical media has produced (at least) three different theaters of operation to wage its struggle: media activism, pure tactical aesthetics, and net conceptualism. The first allows for "formal" net.art tactics (materialist, structural), the latter two allow for "real" net.art tactics (native presence, site-specificity).

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    CAE: Framing Tactical Media 


    Anyone involved with "tactical media" (TM) before its famed christening in 1996 at the Next Five Minutes had to know that naming this cultural/political tendency was going to have some very negative repercussions. The naming was the first step in doing what TM feared the most°Xclaiming cultural territory doomed to house haunting archives. Once given an official title, so many nasty processes could begin - most significantly, the construction of historical narratives. So many narratives already exist explaining this ephemeral, immediate, specific, and deterritorialized process of cultural production that seemed so urgent to so many radical subjects in the early 90s.

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