Integrating Art, Science & Activism in a Time of Climate Crisis
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Culture Jamming
Acknowledgements First and foremost, I would like to thank Vincent de Jong for introducing me to the intricacy of the easyCity action, and for taking the time to answer my questions along my exploration of the case. I also want to thank Robin van t’ Haar for his surprising, and unique, contribution to my investigations of the easyCity action. Rozalinda Borcila, the insights you have shared with me have been a crucial reminder of my own privilieged position – your reflections, I hope, also became a marker in what I have written. Also, I would like to thank others that somehow made my fieldwork possible, and influenced my ‘learning’ of activism and culture jamming. Of these I would especially like to thank Nina Haukeland for introducing me to the politics of activism, Kirsti Hyldmo for reminding me of the realities of exploitation, Åse Brandvold for a skilled introduction to the thoughts and tools of culture jamming, and Maria Astrup for showing me the pleasures and powers of aesthetics. Also, I would like to thank the Norwegian Adbusters Network, and the editorial groups of Vreng. To my main advisor Professor Kristian Stokke, I would like to thank you for the excellent support you have given me throughout my master studies. Your insights have been of grate value, and I cannot thank you enough for continually challenging me. Also, the feedback from Olve Krange, my second advisor, was crucial at the early stage of developing the thesis, to defining its object of inquiry, and finally when writing my conclusion. I would also like to express my appreciation to Professor Oddrun Sæther for an excellent introduction to the field of cultural studies, to Professor Matt Sparke at the University of Washington for demonstrating the intriguing complexities of political geography, and to PhD candidate Stephen Young, for proof reading and fruitful inputs at the final stage of writing. -
Truth Is Concrete #16 B Y T He P Ink Y Sho W
Truth is concrete #16 by The Pinky Show 14.00 Black Cube Some kind of beginning Truth is An opening proposal by Tim Etchells / Forced Entertainment (GB) Performed by Jerry Killick (GB) Questions, hellos, dedications, fragments, answers concrete and yet more questions. In characteristic seriously unserious and unseriously serious style “Some kind of beginning“ is a tentative and extremely partial “Art is a left-wing hobby.” introduction to things otherwise not spoken about Geert Wilders or yet unspoken. A proposal of a structure of brief Fri exchange, call and response to kick off the Marathon. These have been months, years of unbelievably fast change all over the world. Uprisings in the Arabic world. Revolutions and counter-revolutionary attempts. Tim Etchells is an artist and a writer. His work shifts between performance, visual art and fiction. He has Islamistic threats and the fetishisation of Islamistic threats. Demonstrations worked in a wide variety of contexts, notably as the and repercussions in Russia, Ukraine, Belorussia … Persecution of artists – leader of the performance group Forced Entertainment. sometimes under a bright spotlight as in the cases of Pussy Riot or Ai Wei Wei, Jerry Killick is a performer and actor who has been but more often unnoticed by a broader public. The nuclear disaster in Japan. The devising and performing in about a dozen of Forced Entertainment's plays and many other productions. appearance (and disappearance?) of Occupy all over the world. The rise of the right wing in many countries – often as a side-effect of the financial devastations day that threaten the whole European project. -
Anarchy Is What Anarchists Make of It: Reclaiming the Concept of Agency in IR and Security Studies
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by LSE Research Online Chris Rossdale Anarchy is what anarchists make of it: reclaiming the concept of agency in IR and security studies Article (Accepted version) (Refereed) Original citation: Rossdale, Chris (2010) Anarchy is what anarchists make of it: reclaiming the concept of agency in IR and security studies. Millennium: Journal of International Studies, 39 (2). pp. 483-501. ISSN 0305-8298 DOI: 10.1177/0305829810384006 © 2010 The Author This version available at: http://eprints.lse.ac.uk/75253/ Available in LSE Research Online: May 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s final accepted version of the journal article. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Anarchy is What Anarchists Make of it: Reclaiming the Concept of Agency in IR and Security Studies Dr Chris Rossdale [email protected] International Relations Department, London School of Economics & Political Science A later version of this paper was published in Millennium: Journal of International Relations, Vol. -
Intervention Or the Need for a New Cultural Critique
Intervention or The Need For a New Cultural Critique Catharina Thörn “Democracy is, by definition, very noisy.” Adam Phillips Banksy 48 Intervention or The issue of The Useful idiot What is an intervention? According to the dictionary an intervention is the act or fact of intervening. An intervention may “occur incidentally so as to modify or hinder” an event. Yet it also describes an intentional act of coming between, to intercede in a situation. And further, to interfere with force or threat of force, so it can also describe the challenge of power and acts of violence, injustice, and violations made from a position of power. What type of interventions can we see today in the urban context? When reading through recent texts of urban studies, two scenarios often recur describ- ing the contemporary development of cities: The city as a stage and the public space as a battlefield. The city is described as a stage for global capitalism; it is where you find the main players, large investments and where the main global events take place. For an event such as the Olympic Games in Beijing, large parts of the city were re-planned and redesigned, leading to the evictions of people in order to create space for the gigantic arena for the Olympic Games. The use of the city as a stage for global capitalism does not however take place without resistance. Cities are also described as battlefields, places of conflict and resistance. The Tale of an Intervention Prologue It is a barren and dark February evening in Gothenburg, Sweden in 2006. -
Global Activism 21
19 2 Icons of Revolution 23 Peter Weibel, Preface 29 Peter Weibel, People, Politics, and Power Chapter I Activism and the Citizen Contents 65 Robin Celikates, Learning from the Streets: Civil Disobedience in Theory and Practice 73 Bruno Latour, War and Peace in an Age of Ecological Conflicts 85 Ugo Mattei, Institutionalizing the Commons: An Italian Primer 100 Antonio Negri, Living in a Time of Crisis 1 1 1 Peter Sloterdijk, Last Exit Indignation: On Neutralizing Civilians in Democracies 1 1 9 Karl-Peter Sommermann, The Right of Resistance: Approaches in Legal Philosophy 12 9 Slavoj Žižek, Don’t Fall in Love with Yourselves Adbusters 132 — Amnesty International 134 — Anonymous 136 — Attac 137 — Olaf Bertram-Nothnagel, lowercase d: Getting There 138 — Nadir Bouhmouch 140 — Noam Chomsky 142 — Hassan Darsi 144 — Muath Freij 146 — Sacha Goldman 148 — Régis Debray, Lead to Believe 148 — Greenpeace 150 — Stéphane M. Grueso 152 — Stéphane Hessel, The Hope of Continuity 154 — Jim Hubbard 156 — Human Rights Watch 158 — Kein Mensch ist illegal 160 — Jan Jaap Kuiper and Katja Sokolova 162 — Lynn Lauterbach 164 — Let’s Do It! World 166 — Museum of the Revolution 168 — No TAV 170 — Protests against Stuttgart 21 172 — rabble 174 — Resist 176 — Mykola Ridnyi 178 — Robin Wood 180 — Faten Rouissi 182 — Stop the Traffik 184 — Tanya Sushenkova 186 — Terre des Hommes 188 — The Yes Men 190 — Transparency International 192 — Malala Yousafzai 194 — Wango 196 — The Damascus Bureau 197 — Yezzi 197 Chapter II Public and Private Sphere 201 Can Altay, A Public Presence versus Greed, Brutality, and Control: Gezi Park 207 Korhan Gümüş, Liberating Public Spaces: Where to Start? 211 Walter D. -
Contentious Politics, Culture Jamming, and Radical
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2009 Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation David Matthew Iles, III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Political Science Commons Recommended Citation Iles, III, David Matthew, "Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation" (2009). LSU Master's Theses. 878. https://digitalcommons.lsu.edu/gradschool_theses/878 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BOXING WITH SHADOWS: CONTENTIOUS POLITICS, CULTURE JAMMING, AND RADICAL CREATIVITY IN TACTICAL INNOVATION A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Political Science by David Matthew Iles, III B.A., Southeastern Louisiana University, 2006 May, 2009 ACKNOWLEDGEMENTS This thesis was completed with the approval and encouragement of my committee members: Dr. Xi Chen, Dr. William Clark, and Dr. Cecil Eubanks. Along with Dr. Wonik Kim, they provided me with valuable critical reflection whenever the benign clouds of exhaustion and confidence threatened. I would also like to thank my friends Nathan Price, Caroline Payne, Omar Khalid, Tao Dumas, Jeremiah Russell, Natasha Bingham, Shaun King, and Ellen Burke for both their professional and personal support, criticism, and impatience throughout this process. -
Semiotic Disobedience
Washington University Law Review VOLUME 84 NUMBER 3 2006 SEMIOTIC DISOBEDIENCE ∗ SONIA K. KATYAL “[T]he nation and the world are in dire need of creative extremists.”1 —Dr. Martin Luther King Jr., Letter from Birmingham Jail INTRODUCTION Nearly twenty years ago, a prominent media studies professor, John Fiske, coined the term “semiotic democracy” to describe a world where audiences freely and widely engage in the use of cultural symbols in response to the forces of media.2 A semiotic democracy enables the audience, to a varying degree, to “resist,” “subvert,” and “recode” certain ∗ Associate Professor, Fordham University School of Law. This Article was awarded an Honorable Mention in the 2006 Scholarly Papers Competition, American Association of Law Schools. For helpful comments and conversation at various stages in this project, the author thanks Amy Adler, Ann Bartow, Barton Beebe, Christine Bohannan, Devon Carbado, Julie Cohen, Elizabeth Cooper, Reza Dibadj, Matthew Diller, Graeme Dinwoodie, Christine Farley, John Farmer, Robin Feldman, Llew Gibbons, Abner Greene, Laura Heymann, Hugh Hansen, Justin Hughes, Neal Katyal, Sudhir Krishnaswamy, Roberta Kwall, Michael Landau, Lawrence Lessig, Lawrence Liang, Michael Madison, Eduardo Peñalver, Achal Prabhala, Margaret Jane Radin, Lisa Ramsey, Joel Reidenberg, Darren Rosenblum, Rebecca Tushnet, Gerald Torres, Siva Vaidhyanathan, Fred von Lohmann, Rob Walker, the Intellectual Property Scholars Conference at Cardozo Law School (August 2005), the participants of the Intellectual Property Seminar at Boalt Law School (Fall 2005), and the Alternative Law Forum in Bangalore, India (December 2005). The author wishes to thank Susan Freiwald, John Adler, and the faculty and administration at University of San Francisco Law School for being such generous hosts during the fall of 2006, as well as Pamela Samuelson and Boalt Law School for welcoming me as a visiting scholar during that time. -
Humorous Political Stunts: Nonviolent Public Challenges to Power
University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2014 Humorous Political Stunts: Nonviolent Public Challenges to Power Majken Jul Sorensen University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Sorensen, Majken Jul, Humorous Political Stunts: Nonviolent Public Challenges to Power, Doctor of Philosophy thesis, School of Humanities and Social Inquiry, University of Wollongong, 2014. -
Brandalism, Environmentalism and Culture Jamming: the Logic of Appropriation
* forthcoming at Popular Communication* please do not circulate or cite without permission of the author* Brandalism, Environmentalism and Culture Jamming: The Logic of Appropriation Eleftheria J. Lekakis Brandalism for the Environment In late November 2015, while the launch for the 21st Conference of the Parties to the UN Framework Convention on Climate Change (COP21) was underway, another set of operations was happening in Paris. As part of the Brandalism projecti, volunteers replaced over six hundred six-sheet posters in bus stops around the French capital with unique artworkii. This operation employed creative tactics in both its articulation and dissemination. The Brandalism project, acting in the name of resistance to corporate control, engaged in culture jammingiii as the subversion of advertising in public spaces. By engaging in acts of discursive and material disruptions during COP21, the group aimed to promote a critique of climate change by directly addressing the complicity of advertising. The intersection between culture jamming and environmental activism is explored in this paper through the case of the Brandalism COP21 action. Brandalism can be understood as a creative activism project which marries culture jamming with consumer politics and uses the logic of appropriation to address specific issues, such as, in this case, environmentalism at the wake of COP21. In this paper, creative activism is theorized within the literature of the new politics of consumption and political consumerism, and illustrates how the latter intersects with environmental activism beyond the practice of commodity consumption. Political consumerismiv analyzes the transference of political values and acts in the realm of the market and explores participation in progressive political activism as individualized collective action (Stolle and Micheletti, 2015). -
Christmann THESIS.Pdf
University of Huddersfield Repository Christmann, Kris 'Leave Them No Space': Checkmating Political Dissent in the Policing of Two UK International Summits Original Citation Christmann, Kris (2019) 'Leave Them No Space': Checkmating Political Dissent in the Policing of Two UK International Summits. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34949/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 'Leave Them No Space': Checkmating Political Dissent in the Policing of Two UK International Summits Kris Christmann A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy December 2017 Acknowledgements I am extremely grateful to both of my supervisors, Professor Jim McAuley and Dr Shaun McDaid for their time, thoughtful guidance and support throughout. -
POWER and CULTURE in This Section, I Will
SECTION II : CHAPTER 3 : POWER AND CULTURE In this section, I will examine power in the contemporary context, analysing how both the market and the state instrumentalise culture. In chapter four, there is a recognition of the importance of culture in society and an analysis of the pressures on cultural practitioners. I am using Tate Modern as a case study to analyse the impact of pressure by the state and the market on cultural practitioners in institutions. I will start by explaining the reason behind my choice of case study and the choice of dates. I will explain the particular benefits of analysing Tate Modern as an institution. I will consider some of the more unusual aspects of the contemporary political moment, including the notion of ‘self-responsibilisation’ and consider their relationship to the ‘cultural sector’. The relationship between these notions and a Foucauldian notion of the interiorization of power will be drawn out. I will consider the self-censorship which occurs as a result of the desire of the institution to be responsible for its own instrumentalisation, its own adherence to government agendas. I will look at the relationship which has been instituted between performance indicators and monetary rewards, where the funding of the institution depends on the fulfilment of particular targets. I consider how some of these targets meld seamlessly a political agenda for the commercialisation, privatisation and popularisation of culture. Later in this chapter, I consider some of the problems associated with a new close relationship between the corporation, corporate elites and the art institution. I also discuss the importance of the emergence of the Knowledge Economy to the possibilities for commodification of culture. -
Networked Disruption Rethinking Oppositions in Art, Hacktivism and the Business of Social Networking
NETWORKED DISRUPTION NETWORKED fter the emergence of Web 2.0, the critical framework of art and hacktivism has shifted from developing strategies of opposition to embarking on the art of disruption. By identifying the present Acontradictions within the economical and political framework of Web 2.0, hacker and artistic practices are analysed through business instead of in opposition to it. Connecting together disruptive practices of networked art and hacking in California and Europe, the author proposes a constellation of social networking projects that challenge the notion of power and hegemony, such as mail art, Neoism, e Church of the SubGenius, Luther Blissett, BAZZICHELLI TATIANA TATIANA BAZZICHELLI Anonymous, Anna Adamolo, Les Liens Invisibles, the Telekommunisten collective, e San Francisco Suicide Club, e Cacophony Society, the early Burning Man Festival, the NoiseBridge hackerspace, and many others. Tatiana Bazzichelli is a Postdoc Researcher at Leuphana University of NETWORKED Lüneburg and programme curator at the transmediale festival in Berlin. She received a PhD degree at Aarhus University in 2011, and was a visiting scholar at Stanford University (2009). She has previously written the book Networking: e Net as Artwork (2006). Active in the Italian hacker DISRUPTION community since the end of the ’90s, her project AHA:Activism-Hacking- Artivism won the honorary RETHINKING OPPOSITIONS IN ART, HACKTIVISM mention for digital communities AND THE BUSINESS OF SOCIAL NETWORKING at Ars Electronica in 2007. www.networkingart.eu