After a one year break the DICTIONARY OF WAR continues with a fifth edition on January 25th and 26th, 2008 in Novi Sad, Serbia. Again 25 new concepts on the topic of war will be presented in alphabetical order by artists, theorists, filmmakers, scientists, researchers. Loosely based on the slogan: "At least, when we create concepts, we are doing something" DICTIONARY OF WAR is a collaborative platform for creating concepts.
ReadFrom 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.
ReadInternational public seminar and evening screening program on the recent outbursts of social protest and their media strategies, hosted by De Balie, centre for culture and politics in Amsterdam, Friday September 30, 2011.
As a playful, do-it-yourself approach to media activism and new technologies, tactical media (TM) seemed to have some critical bite when it emerged in the mid-1990s. But is it still radical today?
ReadZeynep Tufekci is a fellow at the Center for Information Technology Policy at Princeton University (and a "visiting assistant professor" at the Woodrow Wilson school at Princeton University.) She is also an assistant professor at the University of North Carolina, Chapel. For the 2012-2013 academic year, she is residing in Princeton, NJ.
ReadJulian Stallabrass is a lecturer, writer, curator and photographer.
Second Event of the Disruption Network Lab In cooperation with Kunstraum Kreuzberg /Bethanien
Kunstquartier Bethanien, Studio 1, Mariannenplatz 2, Berlin, May 29-30, 2015.
This two days event presents keynote speeches, panels and live cinema connected with the understanding of cyborg identities, while exposing power structures embedded in technology and our everyday life. The event is built around the international book launch of The Cyborg: A Treatise on the Artificial Man, written by political Sci-Fi theorist Antonio Caronia (Genoa, 1944 – Milan, 2013), published by Meson Press / Hybrid Publishing Lab, Leuphana University of Lüneburg. Starting from the book of Caronia and going beyond it, the analysis will culminate discussing the most recent frontiers of biotechnology and transhumanism.
International public seminar on the new forms of protest and their media, hosted by De
Balie, centre for culture and politics in Amsterdam, on Friday September
30, 2011.
Arthur 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.
A conversation between the Electronic Disturbance Theater & Ian Alan Paul
Khalil Sakakini Cultural Center
مركز خليل السكاكيني الثقافي
Wednesday, March 22nd, 6:30pm
Khalil Sakakini Str. Al Masyoon, Ramallah, Palestine
Wednesday, March 22nd, 6:30pm
This interview was conducted between subRosa and Ryan Griffis via email correspondence during the first half of 2003.
Among the many troubling and bizarre features of contemporary politics, the following apparent paradox can be found: Informationalisation has brought along enormous increases in the traceability of the doings and dealings of the powerful. But the disruptive power of the exposure of these activities to the public, today seems especially low. After information technology, the going about of those in power and their abuses, are increasingly documented, and the resulting records are increasingly susceptible to leakage to the public. Email is an obvious example. In the run-up to the last Iraq war, a message by an official of the National Security Agency (NSA), which requested ? aggressive surveillance ? of UN Security Council Members Angola, Cameroon, Chile, Bulgaria and Guinea, made its way to the newspapers.
It is time to break the silence!
ArtLeaks is collective platform initiated by an international group of
artists, curators, art historians and intellectuals in response to the
abuse of their professional integrity and the open infraction of their
labor rights. In the art world, such abuses usually disappear, but some
events bring them into sharp focus and therefore deserve public
scrutiny. Only by drawing attention to concrete abuses can we
underscore the precarious condition of cultural workers and the
necessity for sustained protest against the appropriation of politically
engaged art, culture and theory by institutions embedded in a tight
mesh of capital and power.
Exhibition, Bratislava, May 23 - June 22, 2014:
We are living in a prolonged period of economic, social, political and
environmental crisis, in which the yearning for global, redeeming
visions of the future has become increasingly frustrating, if not
obsolete. However, it is not possible to live without expectations,
without being able to imagine better conditions, a more positive state
of affairs. And what if ? as many thinkers, cultural producers and
various practitioners propose ? instead of heading towards fixed images
of the future, we understand utopia, as a continuous process of becoming
in which we participate? That is, instead of viewing the future as an
end, a goal we should attain in an ever-delayed 'some day', we actualize
it in the present, perform it in the everyday?
In this essay, we claim that far from being a strength, the lack of demands reflects the weak ideological core of the movement. We also claim that demands should not be approached tactically but strategically, that is, they should be grounded in a long-term view of the political goals of the movement, a view that is currently lacking. Accordingly, in the second part of this text, we argue that this strategic view should be grounded in a politics of the commons. Before addressing the politics of the commons, however, we dispel three common objections that are raised against demands during general assemblies, meetings, and conversations people have about the Occupy movement.
ReadFelix Stalder's extended essay, Digital Solidarity, responds to the wave of new forms of networked organisation emerging from and colliding with the global economic crisis of 2008. Across the globe, voluntary association, participatory decision-making and the sharing of resources, all widely adopted online, are being translated into new forms of social space.
ReadAt 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!'
ReadI am interested in a certain sense of wanting to be "in" something: to participate in it, to connect with it, to synchronize with it, to be caught up with it, rather than to visually possess it. The desire to be attuned to something that is happening, or that might happen at any moment -- not necessarily as a conscious thought, but as a vaguely felt expectation. The desire to move toward something that is (or might be) happening, in order to absorb its force, touch it, taste it, surrender to it -- rather than simply to observe it.
ReadThis short essay for Cahiers Costech explores the complicated relationship of activist and experimental / artistic practices around digital and online media to the problem of time.
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