Tactical Media –Taktická Média

Total Page:16

File Type:pdf, Size:1020Kb

Tactical Media –Taktická Média Tactical – Radical - Independent Media (in Arts and outside) Radical art http://radicalart.info/ Tactical media files Eric Kluitenberg, David Garcia, Geert Loving, (Institute of network cultures, Amsterdam) taktická média, DIY media, pirate media, sovereign media, 1995-2018 http://www.tacticalmediafiles.net/ http://networkcultures.org/ Mem - Pepe the Frog (alt-right) Donal Trump elections, Cambridge Analytica https://youtu.be/YSKKunmMFro https://youtu.be/cy-9iciNF1A Google Land. Andrew Norman Wilson Workers leaving the Googleplex, 2008 http://www.ubu.com/film/wilsona_google.html https://vimeo.com/15852288 Wikileaks, Bagdad strike https://youtu.be/3DlDjJDyXCw Edward Snowden: whistleblower Tactical Media Counter-Culture, 60 – 90iet Camcoder Revolution, Public Acess TV, Indie Media, Disident Media, Samizdat Public Television Paper Tiger, Deep Dish, 1986, DeeDee Haleck, Originální video žurnál, Solidarita movement in Poland, Orange Alternative, etc Independent media – undercurrent - GB, Holland, civil journalism, printed media, rádio, internet, tv, streaming media, (G8, WTO protest 1999), start of antiglobalisation movement, - Anonymous - Occupy Wallstreet Paul Garrin - Man with the Camera (Fuck Vertov), 1989 (riots at Tomking Square) Free Society, video, Paul Garrin,1988 L.A. Riots - Rodney King,1991 (George Holliday) 1989 – europe - dissolving of walls and borders Paul Garrin – about Internet and Borders The Net documentary, 2002, Luc Dambeck https://youtu.be/jjYa4EYK8Rk There are three myths about the Internet. That the Internet is public, that it has no borders and that it has no center. These are all false Emergence of T.M. “T.M. emerged when the modest goals of media artists and media activists were transformed into a movement that challenged „everyone“ to produce their own media in support of their own political or social struggle“. New Media Activism 1990 -1996 The "new media" activism was based on the insight that the long-held distinction between the 'street' (reality) and the 'media' (representation) could no longer be upheld. The media had come to „infuse all of society.” (Tactical Media Files) „Ai Weiwei, the artist died in – and with – that fake death, February 2016 N5M festival, 1993 -1998 What was behind? Next 5 Minutes was a festival that brings together media, art and politics. Next 5 Minutes revolves around the notion of tactical media, the fusion of art, politics and media. The festival is organised irregularly, when the urgency is felt to bring a new edition of the festival together. Next 5 minutes (1993 - 2003) "the cheap 'do it yourself' media, made possible by the revolution in consumer electronics and expanded forms of distribution (from public access cable to the internet) are exploited by groups and individuals who feel aggrieved by or excluded from the wider culture. Tactical media do not just report events, as they are never impartial they always participate and it is this that more than anything separates them from mainstream media." Geert Loving, David Garcia (Manifest,1996) Radical Software Journal, Beril Korot,1970-74 https://youtu.be/hIXlB1CHmOQ Whole Earth Catalog (WEC), 1968 – 89, Steward Brand access to tools http://www.wholeearth.com/index.php camcoder revolution Punk – street (anti) art movement Gustaf Metzeger – Autodestructiove art,1966 Heath Bunting, irational.org Kings Cross Phone-in,1994 Ant Farm - Media Burn, 1975 Ant Farm - San Francisco,1975 „Ultimate media event." Media Burn integrates performance, spectacle and media critique - an explosive collusion of two of America's most potent cultural symbols: the automobile and television. In this alternative Bicentennial celebration, a "Phantom Dream Car"—a reconstructed 1959 El Dorado Cadillac convertible—was driven through a wall of burning TV sets. mediaburn Legacy of T.M. Autonomous media Community media Sovereign media Free media Alternative media Open media Pirate media all referring to oposse mainstream (media) Appropriation of Technical apparata, distribution networks, old and new (media, camcoder, pc, monitor) - energy resources, knowledge. Printed matter – poster, journal, book, street art Broad-casting, narrow-casting (radio, TV) Cable TV, satelite TV, streaming, pirate radio, community radio and TV Mailinglists, Internet, web, blog, peer to peer economy Creative commons, open culture, anticopyright movement Culture Jamming Mark Dery - Culture Jamming: Hacking, Slashing, and Sniping in the Empire of the Signs. Radio Jamming (Negativeland) pirat radio strategy to jamm the frequency, as well the police technology to jamm the broadcast, act of using existing media such as billboards, bus-ads, posters, and other ads to comment on those very media themselves or on society in general, using the original medium's communication method. It is based on the idea that advertising is little more than propaganda for established interests, and that there is little escape from this propaganda in industrialized nations. Culture jamming differs from artistic appropriation (which is done for art's sake), and from vandalism where destruction or defacement is the primary goal. examples Richard Serra: Television Delivers People, 1973 “You are the product of T.V.” you are delivered to the advertiser who is the customer. He consumes you”. http://www.ubu.com/film/serra_television.html Situationist International – Guy Debord Brian Springer:Spin (presidental election 1995 https://youtu.be/PlJkgQZb0VU Hacking the early satelite TV system The Yes Men, (TR Mark) culture jamming activists, Berlinale 2015 https://youtu.be/44_MvXwwXe4 Christof Schlingensief http://www.schlingensief.com/start.php http://www.ubu.com/film/schlingensief_foreigen ers.html Foreigners out! Schlingensiefs Container (Ausländer raus! Schlingensiefs Container), alternately named "Wien-Aktion", "Please Love Austria—First European Coalition Week", or "Foreigners Out—Artists against Human Rights", is an art project and television show from 2000 that took place within the scope of the annual Wiener Festwochen Tesuo Kogawa https://vimeo.com/15947264 How to build a radio transmitter The Art of Campaigning The idea for the Art of Campaigning topic originates from the works of the McLibel group [www.mcspotlight.org]. questions previous forms of activism, which was focused on the mass media and their ability to influence public opinion, by staging direct action. Big NGO's such as Greenpeace have built up experiences with this model for decades. The scenarios they use have not changed much since the seventies .
Recommended publications
  • Whither Tactical Media?
    Third Text, Vol. 22, Issue 5, September, 2008, 519–524 Introduction: Whither Tactical Media? Gene Ray and Gregory Sholette We began collaborating on this Special Issue in June of 2006. Our concern was to understand how tactical media (TM) had evolved in the decade since its emergence and to ask how far and in what ways this stream of critical cultural practices and approach to media activism remains viable today. The current global situation is characterised by two factors that were absent or still obscure in the mid-1990s: the renewal of radical and anti-capitalist imagination ignited by the 1994 Zapatista uprising in Chiapas and by movements, protests and struggles against neo-liberalism in Seoul, Seattle, Buenos Aires, Durban, Genoa, Quito and many other places; and the new politics of fear and perma- nent war that have been imposed globally since September 11, 2001. To these, we can add the undeniable indicators of global climate change, resource depletion and ecological degradation, and the openly fascistic tendencies generated by the politics of fear. In light of these shifts, we felt a reflective assessment of tactical media would be timely. Above all, we felt it had become necessary to revisit the question of strategy and the conditions for durable, organised struggle. Despite TM practitioners’ Downloaded By: [New York University] At: 15:28 12 February 2009 aversion to strategic thinking, institutionalisation, categorical hierarchies and grand narratives, it is apparent that a group of radicals with no such prejudices and inhibitions are busy imposing their ultra-conservative vision on the world. Is it still reasonable, then, to insist on the viability of ephemeral tactics that hold no ground of their own, that disappear once they are executed, and that represent no particular politics or vision of a desirable future? Thus, to a range of theorists and activists, we posed this question: ‘Whither tactical media?’ We hoped the results would at least contribute to recently renewed debates about the limits and possibilities of politically engaged art.
    [Show full text]
  • Hacking Global Justice Paper Prepared
    Hacking Global Justice Paper prepared for: Changing Politics through Digital Networks October 5-6, 2007 Universitá degli Studi di Firenze Florence, Italy Jeffrey S. Juris Assistant Professor of Anthropology Department of Social & Behavioral Sciences New College of Interdisciplinary Arts & Sciences Arizona State University [email protected] Hacking Global Justice On November 30, 1999, as tens of thousands of protesters blockaded the World Trade Organization (WTO) Summit in Seattle, the electrohippies organized a simultaneous collective action in cyberspace. The U.K.-based collective, composed of environmentalists and computer programmers, developed a special website allowing activists from around the world to take part in a “virtual sit-in.” Using Floodnet software developed by the Electronic Disturbance Theater (EDT) during previous actions supporting the Zapatistas, the electrohippies’ site automatically transferred visitors en masse to the official WTO domain as if thousands of surfers repeatedly clicked their browser reload buttons at the same time. The action was designed to overload the WTO web server by sending multiple requests over a period of several days. The electrohippies claimed more than 450,000 people ultimately swamped the WTO site from November 30 to December 5, while participants sent an additional 900 e-mails to the server per day. The group later explained their action in this way, "In conventional sit-ins people try to occupy gateways or buildings. In a virtual sit-in people from around the globe can occupy the gateway to the WTO’s web servers. In this way we hope to block the flow of information from the conference- which is significant because it will cement proposals to expand globalization in the 21st Century."1 The virtual sit-in against the WTO is an example of what activists call Electronic Civil Disobedience (ECD), an information-age tactic intricately tied to an emerging wave of resistance against corporate globalization (cf.
    [Show full text]
  • Portrait of the Activist As a Yes Man: Examining Culture Jamming and Its Actors Through the Circuit of Culture Derrick Shannon
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Portrait of the Activist as a Yes Man: Examining Culture Jamming and Its Actors Through the Circuit of Culture Derrick Shannon Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION AND INFORMATION A PORTRAIT OF THE ACTIVIST AS A YES MAN: EXAMINING CULTURE JAMMING AND ITS ACTORS THROUGH THE CIRCUIT OF CULTURE By DERRICK SHANNON A Thesis submitted to the School of Communication and Information in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Spring Semester, 2011 The members of the Committee approve the thesis of Derrick Shannon on April 01, 2011. ______________________________ Andrew Opel Professor Directing Thesis ______________________________ Donna Marie Nudd Committee Member ______________________________ Jennifer Proffitt Committee Member Approved: _______________________________________ Steve McDowell, Chair, Department of Communication _______________________________________ Larry Dennis, Dean, College of Communication The Graduate School has verified and approved the above named committee members. ii For Dad iii ACKNOWLEDGEMENTS The author would like to primarily thank Dr. Andy Opel, Dr. Bill Lawson, and my father Sam Shannon for supporting me through this project, and for pushing me to finish. Without their encouragement and generosity I would not have been able to see this to an end. I would also like to thank Dr. Nudd and Dr. Proffitt for taking part in this and lending their time. Finally, I would like to thank my mother, Ginger Shannon, who is the kindest most inspiring person I know.
    [Show full text]
  • 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.
    [Show full text]
  • RESEARCH ARTS: La Intersección Arte, Ciencia Y Tecnología Como Campo De Conocimiento Y De Acción
    RESEARCH ARTS: La intersección arte, ciencia y tecnología como campo de conocimiento y de acción Stella Veciana Schultheiss ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos.
    [Show full text]
  • Digital Media and Democracy : Tactics in Hard Times / Edited by Megan Boler
    Digital Media and Democracy Digital Media and Democracy Tactics in Hard Times edited by Megan Boler The MIT Press Cambridge, Massachusetts London, England © 2008 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. For information about special quantity discounts, please email [email protected] This book was set in Stone Sans and Stone Serif by SNP Best-set Typesetter Ltd., Hong Kong. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Digital media and democracy : tactics in hard times / edited by Megan Boler. p. cm. Includes bibliographical references and index. ISBN 978-0-262-02642-0 (hardcover : alk. paper) 1. Mass media—Political aspects. 2. Digital media—Political aspects. 3. Democracy. I. Boler, Megan. P95.8.D54 2008 302.23′1—dc22 2007032258 10 9 8 7 6 5 4 3 2 1 To the worlds grown smaller In tribute to the life and work of Ricardo Rosas, 1969–2007 And to worlds grown bigger Dedicated to the countless who persist in speaking up through the media Contents Acknowledgments ix Introduction 1 I The Shape of Publics: New Media and Global Capitalism 51 1 The State of the Media: An Interview with Robert McChesney 53 Megan Boler 2 The Space of Tactical Media 71 Alessandra Renzi 3 Communicative Capitalism: Circulation and the Foreclosure of Politics 101 Jodi Dean 4 Toward Open and Dense Networks: An Interview with Geert Lovink 123 Megan Boler 5 Black Code Redux: Censorship, Surveillance, and the Militarization of Cyberspace 137 Ronald J.
    [Show full text]
  • Invisible Theater P
    TACTICS MODES OF ACTION Specific forms of creative action, such as a flash mob or an occupation. “Tactics . lack a specific location, survive through improvi- sation, and use the advantages of the weak against the strong.” —Paul Lewis et al.1 Every discipline has its forms. Soldiers can choose to lay siege or launch a flanking maneuver. Writers can try their hand at biography or flash fiction. Likewise, creative activists have their own repertoire of forms. Some, like the sit-in and the general strike, are justly famous; others, like flash mobs and culture jamming, have a newfangled pop appeal; yet others — like debt strike, prefigurative intervention, eviction blockade — are mostly unknown but could soon make their appearance on the stage of history. If art truly is a hammer with which to shape the world, it’s time to gear up. 1 Paul Lewis, Marc Tsurumaki, and David J. Lewis, Situation normal— (Princeton Architectural Press, 1999). TACTIC: Advanced leaeting COMMON USES Leafleting is the bread-and- “If you’re doing To get important butter of many campaigns. It’s information into the also annoying and ineffective, standard leaeting, right hands. for the most part. How many times have you taken a leaf- you’re wasting PRACTITIONERS let just because you forgot to everybody’s pull your hand back in time, Center for Tactical Magic Institute for Applied only to throw it in the next time. What you Autonomy available trash can? Or you’re need is advanced WAG actually interested and stick it in your pocket, but then you leaeting.” FURTHER INSIGHT never get around to reading Institute for Applied Autonomy, it because it’s a block of tiny, indecipherable text? Well, if “Little Brother” http://www.appliedautonomy.com/lb.html that’s what a committed, world-caring person like you does, just imagine what happens to all the leaflets you give out to Center for Tactical Magic, “The Tactical Ice Cream Unit” harried career-jockeys as they rush to or from work.
    [Show full text]
  • The Contentious Performances of Culture Jamming : Art, Repertoires of Contention, and Social Movement Theory David M
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 The contentious performances of culture jamming : art, repertoires of contention, and social movement theory David M. Iles III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Political Science Commons Recommended Citation Iles III, David M., "The onc tentious performances of culture jamming : art, repertoires of contention, and social movement theory" (2013). LSU Doctoral Dissertations. 2812. https://digitalcommons.lsu.edu/gradschool_dissertations/2812 This Dissertation 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE CONTENTIOUS PERFORMANCES OF CULTURE JAMMING: ART, REPERTOIRES OF CONTENTION, AND SOCIAL MOVEMENT THEORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Political Science by David M. Iles III B.S., Southeastern Louisiana University, 2006 M.S., Louisiana State University, 2009 December 2013 ACKNOWLEDGEMENTS This dissertation is the culmination of a project first engaged in the Fall of 2007. Either in whole or in part, some of the chapters below are elaborated and refined versions of earlier papers, including Chapters Six and Twelve. My Master’s thesis crystallized many of the questions and approaches of this project. Indeed, the heart of the project (Chapters Two and Three) and its climax (Chapter Twelve) were first forged in the crucible of the thesis.
    [Show full text]
  • Félix Guattari
    Repositorium für die Medienwissenschaft Clemens Apprich, Josephine Berry Slater, Anthony Iles u.a. (Hg.) Provocative Alloys: A Post-Media Anthology 2013 https://doi.org/10.25969/mediarep/14021 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Apprich, Clemens; Slater, Josephine Berry; Iles, Anthony u.a. (Hg.): Provocative Alloys: A Post-Media Anthology. London: Mute 2013 (PML Books). DOI: https://doi.org/10.25969/mediarep/14021. Erstmalig hier erschienen / Initial publication here: https://www.metamute.org/sites/www.metamute.org/files/u1/a-post-media-anthology-mute-books-9781906496944- web-fullbook.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above.
    [Show full text]
  • Políticas Del Fake: La Ficción Mediática Como Modo De Resistencia Y Emancipación De Elena Gabriela Fraj Herranz, Está Sujeta a Una Licencia Peer Production Lisence
    TESIS DOCTORAL Autora Elena Gabriela Fraj Herranz Director Josep Maria Català Domènech Departament de Comunicació Audiovisual i Publicitat Universitat Autònoma de Barcelona PRIMAVERA 2015 La tesis Políticas del fake: la ficción mediática como modo de resistencia y emancipación de Elena Gabriela Fraj Herranz, está sujeta a una licencia Peer Production Lisence. Políticas del fake: La ficción mediática como modo de resistencia y emancipación 3 Agradecimientos Esta tesis no habría sido posible sin la ayuda personal y profesional de muchas personas con las que he com- partido este proceso. Quiero agradecer a mi director y tutor, el Dr. Josep Maria Català, que me ha sabido transmitir la dedicación y el rigor necesarios para llevar a cabo esta investigación. A todas las personas con las que he compartido proyectos de creación de arte activista a lo largo de más de una década, gracias a las cuales ha surgido la motivación de realizar esta investigación. Personas con las que he compartido colectivos como Enmedio, X.net, Yomango y Las Agencias donde todo lo que he aprendido mediante la práctica y la experiencia cotidiana ha afectado no solo a esta investigación sino que estos pro- yectos se han llegado a constituir como experiencias de vida. Esta tesis se asienta sobre una serie de saberes aprendidos de forma vivencial y compartida de modo que, si bien la autoría de este trabajo es individual, se ha de reconocer que han influido en el resultado estos procesos colectivos. Asimismo agradezco el soporte emocional ofrecido por mis compañeros y compañeras del departamento, el Dr. Ricardo Iglesias, la Dra.
    [Show full text]
  • Assignment 1: a Literature Review of New Media Activism
    Assignment 1: A Literature Review of New Media Activism by Sonja Hohenbild, Shahriar Khonsari, Heather McMullen, and Kalea Turner-Beckman ComDev 10 – Term 3 – New Media, ICT & Development – 4036 Words New media has changed our world. It has broadened our means of communication and allowed us to connect with people across spaces and time in unprecedented ways. For collective action such as activism, this has meant monumental shifts in the ways we can organize around shared goals. As recent events have demonstrated, new media activism can harness masses of people to bring about incredible societal change more easily than ever before. From the accomplishments of the so called Arab spring, to the Occupy Wall Street movement, to the smaller scale culture jam’s of American Apparel’s plus size model campaign; People can be seen or heard online as well as on the streets with the help of these tools. At this stage much of the literature around new media activism aims to describe it and tell the stories of its importance in recent world events. Other literature wants to define what it is, it’s scope and effect as well as help shape it’s hoped for future directions. A critical piece is emerging as to who and how it is operated, for whom and in what way including some consideration of who is being excluded. It considers new media activism as an online space, an offline space, as well as an interface. Additionally, some theorists want to warn fellow activists of the perils of new media organizing, about the ability for anyone to harness it’s power and the transparency, yet also contradictory opacity, and easy documentation of organizing online.
    [Show full text]
  • Digitale Medien in Der Erlebnisgesellschaft
    Roberto Simanowski Digitale Medien in der Erlebnisgesellschaft Bd.-Nr. 55696 9,5/12,8 DTP-Punkt Proforma 35 Zeilen · 98 mm Breite 303 Seiten · 19 Bogen 1 Seite(n) vakat Pinkuin Kopfsteg 12,0 mm · Bundsteg 12,0 mm Roberto Simanowski Über den Verfasser Roberto Simanowski studierte Deutsche Literatur und Geschichte Digitale Medien in der an der Friedrich-Schiller-Universität Jena, wo er 1996 zur Unter- haltungsliteratur um 1800 promovierte. Er arbeitete 1997 bis Erlebnisgesellschaft 1998 als wissenschaftlicher Mitarbeiter an der Georg-August-Uni- versität Göttingen im Sonderforschungsbereich Internationalität Kultur – Kunst – Utopien nationaler Literatur, war Humboldt-Stipendiat an der Harvard Uni- versity 1998 bis 2000 und an der University of Washington 2001 bis 2002 sowie Gastprofessor am Institut für Medienwissenschaft der Friedrich-Schiller-Universität Jena 2002 bis 2003. Seit 2003 lehrt er als Assistant Professor für German Studies und Digitale Ästhetik an der Brown University in Providence, Rhode Island. Er lebt in Boston und Berlin. Letzte Veröffentlichungen: Digitale Literatur (Text & Kritik 2001, Hg.); Interfi ctions: Vom Schreiben im Netz (edition suhrkamp 2002); Literatur.digital. Formen und Wege einer neuen Literatur (Deutscher Taschenbuch Verlag 2002, Hg.); Transmedialität. Stu- dien zu paraliterarischen Verfahren (Wallstein 2006, Mhg.). rowohlts enzyklopädie im Rowohlt Taschenbuch Verlag Inhalt rowohlts enzyklopädie Einleitung 7 Herausgegeben von Burghard König 11. Interaktive Kunst 31 12. Aufmerksamkeitskämpfe 55 13. Kultur
    [Show full text]