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A R T A S R E S E A R C H • H U N G A R I A N U N I V E R S I T Y O F F I N E A R T S D O C T O R A L S C H O O L • A R T A S R E S E A R C H H L U O N O G H A C R S I 2021. 04. 06. 17:38 A L N A R U O N T I C V O E D R S S I T T R Y A O E F N F I I F N F E O A Y R T T I S S R D E O V C I T N O Juli Laczkó: THE ART OF HACKING U R A N L A I S R C A H G O N O U L H H C R A E S E R S A T R A • L O O H C S L A R O T C O D S T R A E N I F F O Y T I S R E V I N U N A I R A G N U H • H C R A E S E R S A T R A Juli Laczkó: THE ART OF HACKING - - - - - Sed ut perspiciatis unde omnis iste natus error sit Neque porro quisquam est, qui dolorem ipsum voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo invento re veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia vo luptassit aspernatur autodit autfugit, sed quia con sequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat volupta tem. Ut enim ad minima veniam, quis nostrum exer citationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? BORITO en.indd 1 Juli Laczkó THE ART OF HACKING Intersections between Hacker Culture and Visual Arts 2021 Acknowledgements 7 Introduction 11 A History of Hacker Culture 13 Prehistory 13 Hacker Ethics 18 Phreaking 19 The Californian Ideology 20 The Comprehensive Designer 22 Community Memory 28 Critique of the Californian Ideology 30 Free Software 32 The Digital Underworld of BBS Systems 35 The Plough Down of Cyberspace 40 Defining Hacker Culture 43 The Term(s) of Hacker Culture 43 Community versus Individuality 47 Lockpicking 48 Play 49 Humour 50 An Alternative 51 Network Patterns in Information Society 52 “The Boys and their Toys” 60 From Loom to Keyboard 63 Hacking Patriarchy 65 The Typology of Hacker Culture 68 Technological Typology of Hacking 68 Progprol/Microserfs 70 Social Typology 71 Hacktivism in Hacker Culture 72 Demonstrating Hacktivism 75 MVDA: Mass Virtual Direct Action 77 Information Hacktivism 78 Culture Jamming 82 Tactical Media 84 Contemporary Subculture AFK 86 Critical Making 89 Free Culture 92 The Definition of Hacktivism 93 Avant-garde Ideology in Hacker Culture 97 The Historic Avant-garde as a Prerequisite for Hacktivism 97 The Hacker Typology of Avant-garde Working Methods 104 The Avant-garde Typology of Hacker Working Methods 107 Dadarchizm 109 Network and Anarchism 112 Contemporary Networked Anarchism: Anonymous 114 Code as Speech 122 Dada to Data 126 As Yet Unrestricted Trespassing 128 Female Extension 130 Border Xing 135 Looking for a Husband with EU Passport 141 Face to Facebook 145 Sterile Field 149 Random Darknet Shopper 153 Summary: Cracks in the Cybernetic Condition 159 Bibliography 162 Juli Laczkó: Webmachine 169 THE ART OF HACKING 7 ACKNOWLEDGEMENTS In 2012 I was accepted into the Doctoral School of the Hungarian University of Fine Arts. In the year of the Arab Spring, WikiLeaks and the Occupy Movement, the non-con- formist use of technology appeared to be the most exciting and most promising research topic imaginable. I wanted to understand and gain a new perspective of the changes taking place around me and their effects on visual art.This led to my first treatise on the subject, defended in 2017. Having defended my dissertation, it became clear that not only could my work garner widespread interest, it also required thorough-going development. The text you are holding in your hands, which was completed in 2019, was based on the dissertation I defended at the Doctoral School of the Hungarian University of Fine Arts in 2017. In 2019, with the support of an Eötvös Scholarship from the Hungarian State, I had the opportunity to develop my subject further as a guest researcher at Lancaster University’s faculty of sociology. I am indebted to numerous colleagues and friends for the direct and indirect help I received from them while working on both the first and the second version of the text, and for the experiences of my research work in the intervening period. For helping me towards the completion of my disser- tation in 2017, I thank first and foremost my supervisors, János Sugár and Zoltán Szegedy-Maszák, for their expertise and support, and the doctoral school secretary, Réka Szűcs, for guiding me through the administrative labyrinths. For assisting me with the further development of my thesis, I am grateful to my two dissertation commit- tee members, Tünde Mariann Varga and Balázs Bodó, 8 JULI LACZKÓ and to Maxigas, for providing me with such thoroughly written and constructive criticism of my 2017 paper. I thank Steve Kane for his tireless work translating my manuscript, and for working with me shoulder to shoulder on synchro- nizing it with the Hungarian version then still in progress. I am grateful to Cc of the underground cinemas of Amster- dam and to Victoria Neumann for their selfless work of proofreading the English version. In the years since my doctoral dissertation was com- pleted in 2017, a number of factors have given me defining experiences for improving and developing my text. On the one hand, I was granted the opportunity to build my research in part on one of the courses I taught at the Budapest Metropolitan University, and on the other hand I participated in numerous events of the European hacker subculture. I would like to express my particular gratitude to the communities of Calafou and the Eclectic Tech Car- nival for their welcoming attitude. The text could not have been written without the Ubuntu Linux operating system, the Libre Office word pro- cessing software, Library Genesis, and other free cultural sources. In 2019 my work was supported by the Tempus Public Foundation and mentored by Maxigas. I would like to take this opportunity to thank the foundation for their support. It would be difficult to express in words the con- tribution of Maxigas to my work, but there is no doubt what without him, the text would not be a shadow of what it is now, because what I obtained from him was not only consistent and patient guidance through my theoretical research, but also the perspective of a practising hacktivist, which I was fortunate enough to experience at first hand. Dedicated to Erika Pásztor THE ART OF HACKING 11 INTRODUCTION My aim is to acquaint the reader with the historical and current cultural-artistic phenomena of critical technocul- ture in accessible terms. The text is primarily, though not exclusively written for university students whose devel- oping professional lives are defined by technology and the media arts. I am hoping that the comprehensive nature of my work closes some gaps in the field and thus serves as a foundation for future research, which with time can and should be surpassed, but not bypassed. The aim of my dissertation is the analysis of similar behaviour patterns in hacker culture and contemporary art from a historical perspective. The goal of this research is not limited to presenting one of the most exciting devel- opments shaping our globalized digital culture, within the context of arts and academia, but extends to connecting this development to distinct cultural-artistic assumptions and thus sheds light on perhaps elusive structural patterns, laying the groundwork for new discourses. My sources originate from American and European culture and almost exclusively touch upon these cultural areas. Most of them are written in English. The present work is best viewed as fundamental research paving avenues for future explorations and closing the gap of comparative analyses of hacker culture and visual arts. Because of the fundamental nature of the present dis- sertation, it clearly encompasses several future research subjects and is as such not a finished, complete whole but rather an introductory text; “an introduction to hacker culture through the arts” could equally have been chosen as the title. The analysis of the historical context is followed by a categorization of the building blocks of contemporary 12 JULI LACZKÓ terminology, which then allows these building blocks to be examined in the context of comparative art history. In the final chapter I present examples of hacktivist art through good practices. THE ART OF HACKING 13 A HISTORY OF HACKER CULTURE Prehistory Computers in the future may weigh no more than 1.5 tons.1 The history of digital culture is comprised of several, paral- lelly evolving, intertwined stories, which unfold depending on their socio-economic conditions. The stories surround- ing the invention of devices, programming languages, operating systems, artificial intelligence, open-source software, and network technologies, and their socio-cul- tural impact are all subjects of the separate and distant disciplines of science and art. However, hacker culture impudently impinges upon all these disciplines, which makes thinking about the subject an increasingly complex challenge.
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