VakuumTV
VakuumTV was founded in February 1994 on the initiative of László Kistamás. Its members presented weekly broadcasts on Monday nights at the most popular cultural club in Budapest, Tilos az Á.
Read"The darkest, hottest place in hell waits for that repulsive angel choir
Which, at the hour when crisis strikes, sings equivocal, neutral songs".
Dante, Inferno, Canto III.
An interview with a Syrian activist in exile, code-named Sami, published by Occupy.com draws attenton once more to the radical experiment in real-life bottom-up matriarchal democratic design unfolding against all odds in the autonomous Kurdish region of Rojava in Northern Syria. We are republishing two short texts here on this subject matter to speculate about the question if 'Rojava' could offer a repeatable model for post-governmental political design?
Archives - Life-Cycles - Care
TMF editors Eric Kluitenberg and David Garcia have been invited to participate in the workshop "Taking Care of Things!" in Lüneburg, Germany, January 15-18, organised by the Post-Media Lab / Centre for Digital Cultures - Leuphana University, and Habits of Living in cooperation with the Stadtarchiv Lüneburg.
Geert Lovink wrote:
A gap is now in danger of getting bigger: old school video journalism, done by political activists, versus a thriving technology based network of media artists. Complaints about an 'eighties' style of amateurism of video works are on the rise. On the other hand, a depolitization of electronic arts is apparent as well. Or do we speak here about a mutual non-understanding? A return of the outworn difference between activist and artist? Can the concept of 'tactical media' present itself as a easy synthesis?
We've had the camcorder revolution. It made making videoprograms
cheaper. Audio-equipment is affordable, so radiomaking is possible for
a large amount of people too. So for a long time already the masses are
potential mediaproducers. There were only minor successes in accessing
the broadcast channels both legally and illegally. But the efficient
one-to-many distribution system (radio and tv) are chocked, regulated,
hard to get access to. The Internet having the capacity for streaming
media seems to promise new possibilities. Boundless access, for anyone
making radio, and maybe in the near future TV. Some are pessimistic,
and see these channels soon closed and regulated as well. What will
this streaming media look like and who will be streaming?
In the wireless era, is the paper medium simply passé for the work of activists? Are zamizdat, fanzines and political magazines just good for historians? After the mid-nineties zine crisis due to a sudden rise of the cost of paper and the advent of the Internet, the actual role of magazines seems to be re-defined and still strategical for the circulation of ideas.
Read
This short essay was written in the run up to the fourth Next 5 Minutes festival of Tactical Media, which took place in Amsterdam September 11 - 14, 2003.
Door Geert Lovink
Amsterdam, december 1995
(voor Next 5 Minutes 2 - internationaal festival voor tactische media, 1996)
'CYBERPOSITIVE'
O(rphan) d(rift>)
Cabinet Editions
ISBN 0-952-58240-6
Public Agency in Hybrid Space
Lead-essay for the theme issue "Hybrid Space" of OPEN, Journal for Art and the Public Domain, #11, (Amsterdam / Rotterdam, 2006).
The Negative Dialectics of the Net
In his essay, "Presenting the Unpresentable: The Sublime", Jean-François Lyotard observes that capitalism, technoscience and the pictorial avant-garde of the twentieth century share an 'affinity to infinity'. All three point towards a sensibility that is constitutive for the experience of the modern world.
Dr. Shahidul Alam, internationally renowned photographer, activist, founder and Managing Director of the Bangladesh multimedia company, Drik, founder of Chobi Mela International Photography Festival and Pathshala South Asian Media Institute, was forcibly abducted from his home on the night of 5 August.
Shahidul Alam was granted bail on November 15, 2018 and released from jail, but still faces a maximum of 14 years in prison if convicted.
News and updates #freeshahidulalam
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.
ReadActivist Media Tomorrow*
* BH: When I wrote this text five years ago, it really was not clear whether
the swarming tactics of the counter-globalization movement would get a
"second chance." But they have, and now the subtitle could be "activist
media today."
What happened at the turn of the millennium, when a myriad of recording
devices were hooked up to the Internet and the World Wide Web became an
electronic prism refracting all the colors of a single anti-capitalist
struggle? What kind of movement takes to the barricades with samba bands
and videocams, tracing an embodied map through a maze of virtual
hyperlinks and actual city streets? The organizational aesthetics of the
networked movements was called "tactical media," a concept that mixed
the quick-and-dirty appropriation of consumer electronics with the
subtle counter-cultural anthropology of Michel de Certeau. The idea was
to evoke a new kind of popular subjectivity, constitutionally "under the
radar," impossible to identify, constantly shifting with the inventions
of digital storytelling and the ruses of open-source practice. Too bad
so much of this subversive process was frozen into a single seductive
phrase.
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.
Keywords: robots / contestation / public space / expression management
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).