Joey Skaggs Interview, by Joe Crisafi
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2. Mondo 2000'S New Media Cool, 1989-1993
UvA-DARE (Digital Academic Repository) The web as exception: The rise of new media publishing cultures Stevenson, M.P. Publication date 2013 Link to publication Citation for published version (APA): Stevenson, M. P. (2013). The web as exception: The rise of new media publishing cultures. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:02 Oct 2021 2. Mondo 2000’s new media cool, 1989-1993 To understand how it was possible for the web to be articulated as an exceptional medium when it surfaced in the 1990s - that is, as a medium that would displace its mass and mainstream predecessors while producing web-native culture - one must see the historical and conceptual ties between web exceptionalism and cyberculture. -
Artivismo in Rete. Le Beffe Degli Anni Dieci Martina Coletti D’ARS Magazine
Artivismo in rete. Le beffe degli anni Dieci Martina Coletti D’ARS Magazine Abstract Questo intervento prende le mosse da un articolo uscito sul trimestrale D’ARS nel 2010 dedicato ad alcune operazione artistiche ascrivibili all’ambito del media attivismo di quegli anni in Italia, con par- ticolare riferimento a pratiche, riflessioni critiche e strumenti mutuati dal web e ascrivibili al feno- meno dell’hacktivism e dell’hacking sociale. Il termine “net.art” definisce nel campo dell’arte molti dei lavori trattati. Tra le dinamiche più ricorrenti si ritrova il détournement, l’irriverenza del gesto dada che si insinua negli ingranaggi delle macchine del potere per ridimensionarne la portata e dare spazio all’immaginazione. Il testo ricostruisce il periodo partendo dai netartisti 0100101110101101.org e dalla vicenda del Conflitto di Tirana; più specificatamente sul terreno dell’artivismo si ripercorrono alcune delle operazioni condotte da Les Liens Invisible, mentre con AOS – Art Is Open Source si apre il versante della riappropriazione di linguaggi e strumenti. This contribution is based on an article published in 2010 by D’ARS magazine about media activism art performances going on in Italy in those years, which referred to experiences, critical debate and tools around the web, and relating to hacktivism and social hacking. The expression "net.art" applies to many of the works dealt with. Among the most frequent practices, we have détournement, the irreverent dadaist gesture against the establishment apparatus, which aims to downsize its power and give way to imagination. The contribution retraces those experiences starting from netartists 0100101110101101.org and the Conflitto di Tirana performance. -
Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide -
A Critical Theory for Challenging Oppression and Spectacle by Donovan King
UNIVERSITY OF CALGARY Optative Theatre: A Critical Theory for Challenging Oppression and Spectacle by Donovan King A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS (THEATRE STUDIES) DEPARTMENT OF DRAMA CALGARY, ALBERTA NOVEMBER, 2004 © Donovan King 2004 ii APPROVAL UNIVERSITY OF CALGARY FACULTY OF GRADUATE STUDIES The undersigned certify that they have read, and recommend to the Faculty of Graduate Studies for acceptance, a thesis entitled “Optative Theatre: A Critical Theory for Challenging Oppression and Spectacle” submitted by Donovan King in partial fulfillment of the requirements for the degree of Master of Fine Arts (Theatre Studies). iii Abstract The goal of this thesis is to develop a powerful new socio-theatrical paradigm for the 21st Century: the optative theatre. Exploring the state of oppression in the new millennium, the shortcomings of standard theatrical paradigms, and explosions in critical discourse and new technology, this thesis proposes that a new activist and user-based theatre is both necessary and desirable in order to overcome the dragooning of theatre, society, and humankind. Drawing primarily from the fields of Cultural and Theatre Studies, especially as they relate to Cultural Resistance and Global Justice, the Situationist notion of Spectacle is examined as an oppressive force that quagmires and devastates the whole of humanity. Critical thinking is provoked regarding human behaviour and dramatic performance on the world stage, and concepts of revolutionary theatre and theatrical revolution are examined in depth as they relate to Spectacle and the liberation of humanity. Based on the concept of counter-hegemonic playing, the highly activist optative theatre is portable, user-friendly, and free. -
The Politics of Information: the Electronic Mediation of Social Change
The Politics of Information: The Electronic Mediation of Social Change edited by Marc Bousquet and Katherine Wills Alt X Press electronic book review cc 2003 by the authors and Alt-X Press. This work is licensed under the Creative Commons Attribution-NoDerivs-NonCommercial License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nd-nc/1.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. This work may be freely distributed, in whole or in part, for non-commercial purposes, provided that names of author, editor, and publisher are included. Contents Introduction by Marc Bousquet v 1. Beyond the Voting Machine 1 Section Introduction, Marc Bousquet, 3 Charles Bernstein, “Electronic Pies in the Poetry Skies” 7 Bennett Voyles, “The Selling of E-thePeople” 12 DeeDee Halleck, “The Censoring of Burn!” 18 Fran Ilich, “Delete the Border!” 45 Bruce Simon, “Illegal Knowledge: Strategies for New-Media Activism” (dialogue with Ricardo Dominguez and Geert Lovink) 55 Mark Amerika and Katherine Wills, “Resisting the Interview: An Anti-Interview with Mark Amerika about Internet Art” 66 2. Technocapitalism and The Politics of Information 79 Section Introduction, Marc Bousquet, 81 David Golumbia, “Metadiversity: On the Unavailability of Alternatives to Information” 85 Tiziana Terranova, “Free Labor, Producing Culture for the DigitalEconomy” 99 Nick Dyer-Witheford, “Sim Capital: General Intellect, World Market, Species Being and the Video Game” 122 John Monberg, “Social Worlds of the Information Society: Lessons from the Calumet Region” 141 Matt Kirschenbaum, “Virtuality and VRML: Software Studies After Manovich” 149 Donna Haraway, “Prospects for a Materialist Informatics” (interview with Lisa Nakamura) 154 iv Contents 3. -
Volume 5, Issue 1, April 2008 the Black Label: Trade Mark Dilution
Volume 5, Issue 1, April 2008 The Black Label: Trade Mark Dilution, Culture Jamming and the No Logo Movement Matthew Rimmer * * Dr Matthew Rimmer, BA (Hons)/ LLB (Hons) (ANU), PhD (UNSW), is a Senior Lecturer and director of Higher Degree Research at the Australian National University College of Law, and an associate director of the Australian Centre for Intellectual Property in Agriculture (ACIPA). He is grateful for the feedback and comments of the anonymous referees, and Dr Maree Sainsbury of the University of Canberra. He would also like to thank Laugh It Off Promotions for the pictures of the T- Shirts and the legal protests. E-Mail Address: [email protected] (2008) 5:1 SCRIPT-ed 71 Abstract This article considers the ongoing debate over the appropriation of well-known and famous trade marks by the No Logo Movement for the purposes of political and social critique. It focuses upon one sensational piece of litigation in South Africa, Laugh It Off Promotions v. South African Breweries International (Finance) B.V. t/a Sabmark International. In this case, a group called Laugh It Off Promotions subjected the trade marks of the manufacturers of Carling Beer were subjected to parody, social satire, and culture jamming. The beer slogan “Black Label” was turned into a T-Shirt entitled “Black Labour/ White Guilt”. In the ensuing litigation, the High Court of South Africa and the Supreme Court of Appeal were of the opinion that the appropriation of the mark was a case of hate speech. However, the Constitutional Court of South Africa disagreed, finding that the parodies of a well-known, famous trade mark did not constitute trade mark dilution. -
This PDF Version of Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity Is Licensed Under a Creative Commons License
This PDF Version of Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity is licensed under a Creative Commons License. McLe_0385513259_7p_all_r1.qxd 12/7/04 11:28 AM Page ii McLe_0385513259_7p_all_r1.qxd 12/7/04 11:28 AM Page iii ® FREEDOM OF EXPRESSION Overzealous Copyright Bozos and Other Enemies of Creativity KEMBREW McLEOD DOUBLEDAY NEW YORK LONDON TORONTO SYDNEY AUCKLAND McLe_0385513259_7p_all_r1.qxd 12/7/04 11:28 AM Page iv PUBLISHED BY DOUBLEDAY a division of Random House, Inc. DOUBLEDAY and the portrayal of an anchor with a dolphin are registered trademarks of Random House, Inc. The author gratefully acknowledges permission to reprint from the following works: “Adolph and Nevilline” by Woody Guthrie, copyright © by Woody Guthrie Publications, Inc. All Rights Reserved. Used by permission. “Clowns,”written and performed by Too Much Joy, published by People Suck Music. Book design by Chris Welch Library of Congress Cataloging-in-Publication Data McLeod, Kembrew, 1970– Freedom of expression® : overzealous copyright bozos and other enemies of creativity / Kembrew McLeod.—1st ed. p. cm. 1. Intellectual property—United States. 2. Copyright—United States. 3. Freedom of expression—United States. 4. Creation (Literary, artistic, etc.)— Economic aspects—United States. I. Title. KF2979.M348 2005 346.7304'82—dc22 2004055289 ISBN 0-385-51325-9 Copyright © 2005 by Kembrew McLeod All Rights Reserved Visit Kembrew McLeod’s Web site at www.kembrew.com PRINTED IN THE UNITED STATES OF AMERICA February 2005 First Edition 1 3 5 7 9 10 8 6 4 2 McLe_0385513259_7p_all_r1.qxd 12/7/04 11:28 AM Page v F O R L Y N N E McLe_0385513259_7p_all_r1.qxd 12/7/04 11:28 AM Page vi McLe_0385513259_7p_all_r1.qxd 12/7/04 11:28 AM Page vii CONTENTS Introduction 1 CHAPTER ONE THIS GENE IS YOUR GENE 13 fencing off the folk and genetic commons CHAPTER TWO COPYRIGHT CRIMINALS 62 this is a sampling sport CHAPTER THREE ILLEGAL ART 114 when art gets in trouble with the law, and art gives the law trouble back CHAPTER FOUR CULTURE, INC. -
Art on the Net and for The
the objectives and principles. This is the very reason why the server continuously risks being shut down, but has held on for ten years so far. 27 Taken from the article “Letteratura chimica. Scritti di infamia e marciume postmoderno” (“Chemical Art on the Net and Literature. Writings of post-modern infamy and rot”), by Francesco “Warbear” Macarone Palmieri, published on <www.euromovements.info/html/letteratura.htm>. 28 The FreakNet history is found on the collective’s site at: <www.freaknet.org/hacklab/history>. 29 On the website of the Nodo50 collective, www.nodo50.org, we read: “Organización dedicada for the Net a la telemática antagonista ya la organización de proyectos digitales alternativos”. Sindominio too, whose experience refers directly to that of the Italian ECN collective, is a place of visibility and diffusion for many Spanish collectives: <www.sindominio.net>. 30 See for example the site <www.hackingballz.com> or the initiative by Piquete Virtual (Netstrike) against the site <www.ambitoweb.com>, an important Argentinean right-wing newspaper, promoted in 2002. Information at: <www.nodo50.org/piquetevirtual>. 31 CopyDown was conceived by Oedipa_m, with whom Pinna began collaborating immediately and who keeps the site alive today. 32 A good reconstruction of that seizure is found in Maria Teresa Paoli’s graduation thesis, “New Media and Independent Communications Policy. Indymedia between Hacktivism and No Global Activism”, University of Siena, Faculty of Letters and Philosophy, Degree Course in Communications Sciences, academic year 2000-2001. A downloadable on-line version in Italian in pdf format is found at: <http: //italy.peacelink.org/mediawatch/docs/1248-14954_tesi.pdf>. -
Networking: the Net As Artwork – Tatiana Bazzichelli
Tatiana Bazzichelli Networking The Net as Artwork Preface by Derrick de Kerckhove Tatiana Bazzichelli Networking The Net as Artwork Preface by Derrick de Kerckhove Digital Aesthetics Research Center www.digital-aestetik.dk Layout and front cover by Jonas Frankki Cover image: “Giovanotti Mondani Meccanici” by Antonio Glessi-Andrea Zingoni, published in “Frigidaire” issue 42, May 1984, Primo Carnera Edition. Italian editing by Simonetta Fadda English translation of chapters 1, 2, 7, Acknowledgements, Webliography, Captions and Afterword by Maria Anna Calamia, editing by Grace Wright English translation of chapters 3, 4, 5, 6 by Helen Pringle First proofreading by Jonas Frankki Last proofreading by Helen Pringle Copyright © Italian edition 2006, costlan editori s.r.l., Milan Copyright © English edition 2008, Digital Aesthetics Research Center, Aarhus University, and the author ISBN 87-91810-08-6 To Musti, Sergio and Bepi EAN 9788791810084 and to the infinite possibilities of being This research is part of the Digital Urban Living research centre, partly funded by the Danish Council for Strategic Research grant number 2128-07-0011 GNU Free Documentation License. Version 1.3, 3 November 2008 Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled “GNU Free Documentation License”. http://www.gnu.org/licenses A copy of the book can be found at www.digital-aestetik.dk Other reference materials on the subject: www.networkingart.eu 136 Hacker Ethics and Shared Networks Table of Contents Social Hacking , 136 Independent Magazines and Radical Websites, 149 Hackmeetings and Hacklabs, 163 The Netstrike, 170 179 Art on the Net and for the Net Net.art and Hacktivism, 179 8 Acknowledgements The Craftsmen of the Code, 188 Beyond the Limits of the Net, 197 Network vs. -
Wti 2.0 Wti 2.0 Written Contributions
WTi 2.0 WTi 2.0 Written contributions 6 Kenneth Goldsmith 8 Angelo Plessas 10 Internet-TBD 12 Paul Soulellis 14 Raffael Dörig 15 Dirk von Gehlen 16 Wolfgang Ullrich 18 Alain Bieber 20 Annet Dekker Participants 22 Joe Hamilton 24 Florian Kuhlmann 26 Giulia Bowinkel & Friedemann Banz 28 Unità di Crisi 30 Emilie Gervais 32 Jaakko Pallasvuo 34 New Bretagne 36 Silvio Lorusso 38 Sebastian Schmieg 40 !Mediengruppe Bitnik 42 Nuno Patrício Introduction In the past decade the internet has changed from a domain of itself to an essential part of our everyday lives. On- and offline realities do not merely co-exist anymore but influence and enhance one another. Digital devices hold the content, contacts and conversations that lead to our thoughts, meetings and projects. The carriers of our internet connections seem to have become almost as important as our body-parts, connecting our physical and online realities. Meanwhile we often experience the presence of the internet and our digi- tal devices as a distraction from our daily activities. The endless access to information frequently leads to aimless internet ventures where scrolling and hyperlinks are the modes of navigation while data is created and accumulated. WTi 2.0 4 Kenneth Goldsmith addresses this state of distraction through a creative writ- ing course called Wasting time on the internet that he teaches at the University of Pennsylvania. He and his students spend three hours a week wasting time on the internet, sitting silently in a class room, with nothing but their own devices and a WiFi connection. By conceiving web-surfing as a form of self-expression, the negative connotation of wasting time on the internet is called into ques- tion by using a state of distraction as a way to assemble raw material that can be used for artistic production.