dissertation -social activism through the use of internet in contemporary urban artistic practice

7/30/2019 Dissertation -Social Activism Through the Use of Internet in Contemporary Urban Artistic Practice

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Social activism through the use of internet in contemporary urban artistic practice

- The unknown net of surfing social art consciousness

Introduction

Intentions

To discuss ideas proliferated in todays artistic art philosophy mentioned in such books as New

Media Art and more thoroughly discussed in Altermodern in relation to todays society and the

need for social change.

Contemporary societies are in the process of developing digital technological networks that

simultaneously result in their transformation. The operations of networked computer systems, based

in forms of simulation, have shifted general notions of visuality within a visual culture. Practices in art

education that address these contemporary developments should be able to respond to the current

forms of visuality being created in a variety of educational spacesboth actual and virtual. In this

article, I identify three theoretical lines of sight that represent contemporary forms of vision related tothe use of networked digital technologiesspecifically the Internet. These critical aesthetic tactics of

individuals and collectives point to possibilities for adapting similar approaches in art educational

spaces, making connections between curriculum and pedagogy, new media theory, and

contemporary sociology, forming the matrix of a digital visual culture. Reprinted by permission of the

publisher.

How does todays artists respond to mass globalisation and the ease of access to collectives and

mass consumption? Collaboration and participation?

New Media Art uses many principles of the Dadaists including photomontage, collage, the

readymade, the political action and performance [...] the use of irony and absurdity to jar

complacent audiences. (new media art page 8)

Pop art is another important antecedent. [...] Many works of New Media art refer to and are

engaged with commercial culture. (new media art page 8)

New Media art is often conceptual in nature (page 8 New Media art)

The New Media art movement continued an art-historical shift from passiveaudience recemption

to active participation that was previously exemplified by the Happenings of the 1960s and 1970s.

(new Media art page 12)

death of postmodernism as starting point of reading the present (Altermodern)

Whilethe art of the 1970s was defined by distinct movements *...+, the 1980s gave rise to an

overhead art market and a plethora of micromovements [...] After the art market crash tht followed

Black Monday (October 19, 1987) *...+ these micro-movements lost their momentum and, by the

early 1990s had largely run their course. Fed by the growth of Masters of Fine Arts programmes

and supported by the expansion of museums, contemporary art continues to thrive, but artistic

practices did not adhere into definable movements.

The simplest point of entry is the Internet. E-mail lists and Web sites have opened up a new kind of

transnational public sphere, where artistic activities can be discussed as part of a larger,freewheeling conversation on the evolution of society. Some


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Stimson, Blake (Editor); Sholette, Gregory (Editor). Collectivism after Modernism : The Art of Social

Imagination After 1945.

Minneapolis, MN, USA: University of Minnesota Press, 2007. p 279.

http://site.ebrary.com/lib/coventry/Doc?id=10215801&ppg=298

Copyright 2007. University of Minnesota Press. All rights reserved.

1. Contemporary art and social activism

2. The operations of networked computer systems, based in forms of simulation, have shifted

general notions of visuality within a visual culture. Practices in art education that address these

contemporary developments should be able to respond to the current forms of visuality being

created in a variety of educational spacesboth actual and virtual. In this article, I identify three

theoretical lines of sight that represent contemporary forms of vision related to the use of

networked digital technologiesspecifically the Internet. These critical aesthetic tactics of

individuals and collectives point to possibilities for adapting similar approaches in art educational

spaces, making connections between curriculum and pedagogy, new media theory, and

contemporary sociology, forming the matrix of a digital visual culture. Reprinted by permission of

the publisher.

Moving away from post modernism grand-narrative contemporary art in todays consumer

society but also highly connected.

The grand modernist narrative was succeeded by that of globalisation, which does not designate a cultural

period properly speaking but a geopolitical standardisation and synchronisation of the historical clock.

death of postmodernism as starting point of reading the present Altermodern

the term altermodern, which serve both a the title of the present exhibition and to delimit the void beyon d

the postmodern, has its roots in the idea of otherness *...+ and suggests a multitude of possibilities, of

alternatives to a single route.

Altermodernism *...+ that moment when it became possible for us to produce something that made sense

starting from an assumed heterochrony, that is, from a vision of human history constituted of multiple

temporalities, disdaining the nostalgia for the avant-garde and indeed for any era a positive vision of chaos

and complexity

The artists referenced by him: Simon Starling, Katie Paterson, Franz Ackerman - represent the artist inventor:

they invent their own intrinsic philosophy in/of art, and also the invent an art-form: ex: Franz Ackerman who

invents painting with gps. they follow the tradition of anything can be art if it is said to be art, if it i well

justified as art.

Seth Price, in an essay defining the theoretical issues of his work refers to the collective authorship and

complete decentralisation that define our new cultural framework


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The grand modernist narrative was succeeded by that of globalisation, which does not designate a cultural

period properly speaking but a geopolitical standardisation and synchronisation of the historical clock.

In 1988 Professors Noam Chomsky and Ed Herman described in their groundbreaking book

Manufacturing Consent how the mass media and public opinion are manipulated in a modern

democracy. Many readers were shocked by the idea that respected institutions like CBS, the New

York Times and Time magazine might be organs of US government propaganda, but the books

arguments were persuasive and contributed to a loss of faith in mainstream media among some

liberal-minded people, a

Moore, Colin. Propaganda Prints : A History of Art in the Service of Social and Political Change.

Huntingdon, GBR: A & C Black, 2010. p 191.


Copyright 2010. A & C Black. All rights reserved.

In The Rise of the Network Society, Castells tells us that information technology and communications

are altering the way we are born, we live, we learn, we work, we produce, we consume, we dream,

we fight, or we die (Castells, 2000: p. 31). He claims that the rapidity of change and the scope of itsglobal impact mean we can conceive of it as a revolution that is drastically reconfiguring all of these

elements across the planet.

Hands, Joss. @ Is for Activism : Dissent, Resistance and Rebellion in a Digital Culture.

London, GBR: Pluto Press, 2010. p 42.


Copyright 2010. Pluto Press. All rights reserved.

Baudrillard highlights the importance of digital media in consumer societies. For Baudrillarda

depthless culture in which all values have been transvalued and art has triumphed over reality.

CC&p page 83

we are in a hyper-reality. Effectively, everything can be an object of communication.

Baudrillard, page 145, Live


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the work of art has no longer any privilege as a singular object breaking through this type of

circuit. Man-machine circuit, using auto-referencing medium in which the difference between the

man and the machine is difficult to see.

Baudrillard, Page 147

Todays artist in order to arrive at precise points, take as their starting -point global culture and no longer

reverse. The line is more important than the points along its length. (Altermodern)

The international nature of the New Media art movement reflected the increasingly global nature of the art

world as a whole, as evidenced by the proliferation in the 1990s of the international biennial exhibitions,

including the Jojannesburg Biennial and the Gwangju Biennial.

The shift was part of a much larger historical trend: the globalisation of cultures and economies. (new media

art, page 10)

Suddenly, computers became a gateway to an international community of artists, critics, curators, collectorsand other art enthusiasts.

our civilisation, which bears the imprints of a multicultural explosion and the proliferation of cultural s trata,

resembles a structureless constellation, awaiting the transformation into an archipelago. We should add that

the modernism of the twentieth century, and todays mass cultural movements, among to agglomerations that

we could describe as continental. page 2, (Altermodern)

the term altermodern, has its roots in the idea of otherness *...+ and suggests a multitude of possibilities, of

alternatives to a single route.

the era of the worldwide web and global hypermobility is really given rise to new ways of perceiving human

space.

The bubble project, initiated by Ji Lee is a world-wide artistic project that aims at pranking

adds, reclaiming the public space domain as people led. Its a bold statement in a world

flooded by art and its a strong social move. From Russia to China and Japan, people are

encouraged to write their own messages on a bubble in an attempt to make fun of the

images/objects they are placed on.

Micro-utopias and heterochrony the forming of archipelagos

Artists using the everyday as an artistic universe and generating social change

* aware of the disparity between artists today and the formation of artistic archipelagos

(Altermodern) , that seem unrelated at first glance as each follow an individual personal narrative,

but, in analyzing it from a global perspective, suddenly find a different flavour, and the same stories,

appear, repetitively, from artist to artist and culture to culture.

*idea: in western societies, and groups, outside political power, hierarchies and the patriarchal

society begins to slowly dissolve, as we are all interconnected, through different medias, internet,and one can take the place of the other with ease.


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In view of the now pervasive geopolitical framework, a further risk of the nomadic is to naively romanticise

the privileges of borderless travel while overlooking how the less priviledged are excluded from this freedom.

Yet against Mullers implication that Europe was becoming a free borderless zone (artwork, depicting himself

crossing the 8 borders of Austria) the reality in the Eu, conversely, was shifting towards the political imperative

of stemming the tide of migration from North Africa and Eastern Europe. The schengen Agreement, instituted

in 1990, is key to this history, for it created an open region within Europe but simultaneously acted to reinforceEuropes borders with its neighbouring areas.

Made Here is a Web-based film project and forum. It centers on a series of shorts, each around five

minutes long, in which New York artists talk about their experience of living and working in the city,

how they came to do what they do, and how they fund their activities. It is supported by the Rockefeller

Cultural Innovation Fund and the Doris Duke Charitable Foundation. Season one launched in 2010, and

season two began in March and continues with new films being added until July.

Mallika Sarabhai: Dance to change the worldTells a transformative story in dance and argues that the arts may be the most powerfulway to effect change, whether political social or personal.

http://www.ted.com/talks/mallika_sarabhai.html ( Filmed nov 2009)

As the leader of Darpana, Mallika Sarabjai is a pioneer in using dance and the arts for social

change.

In India she is directing, promoting social change through dance and short plays addressed for mass

public consumption. One example is a play that instructs through dance how to fold clean cotton to

filter water thus offering a cheap water filtering solution.

-non-autobiographical, it seems , that each artist today, invents his own cyclical theory, just a Nicolas

Bourriaud Kindly explains, and his own romantic biography (link to my art) in an era that seems to care less

and less about the narrative and about the self of others. Our role-models are soulless-thoughtless creatures in

media and the role of the professional be him artist or philosopher, mathematician in the collective live is

now, less obvious than ever.

The inundation with personalities, deliver the cult of the gray area, the cult of the unknown right or wrong, the

cult of self-loss, the cult of being different by means of expression of the body rather than of the mind.

(Altermodern)

Asia, especially China, South Korea and India. Characterised by accelerated modernisation. It lacks the globalstructure of power, [..] the infrastructure of economic technological, political and epistemological force to

promulgate its own agenda independent of the systems *...+of supermodernity.

The Middle eastern try to escape the power influence of Supermodernity and its refuge into Islam as an

alternate moral, social, political and economical code.

The territory of Africa, a space that has to slowly reconstruct it own modernity, a countermodernity, having

no relation to history-making, and after having suffered the failure of the exterior supermodernity influence.

(Altermodern)
http://www.ted.com/talks/mallika_sarabhai.htmlhttp://www.ted.com/talks/mallika_sarabhai.htmlhttp://www.ted.com/talks/mallika_sarabhai.html


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Strictly social art activism in Contemporary practice Some extraordinaru outsider

experiments

"Made Here" is a web-l based film project and forum that centres on a series of shorts (each around five

minutes long) in which New York artists talk about their experience of living and working in the city,

how they came to do what they do and how they fund their activities. Supported by the RockefellerCultural Innovation Fund and the Doris Duke Charitable Foundation, series one was launched in 2010.

http://www.madehereproject.org/

The episodes have been directed by Chiara Clemente and produced by Tanya Selvaratnam, who made

the 2008 documentary "Our City Dreams", which explored the practices of five woman artists, including

Nancy Spero and Marina Abramovic, and which featured in Art Basel's film programme in 2008.

a) Social awareness

Natalie Jeremijenko, a multifield pioneer, is creating art projects that combine social, biological and

engineering factors that educate individual in an eco-mind shift way. Her projects, include

instructions to raising politician named tad-poles and small patches of greenery hydrants of

Manhattan, filtering the water that goes into the sewers before it reaches them.

Natalie Jeremijenko

Page 70, Internet art

Social: Chris Jordanuses statistic about todays society in order to graphically illustrate social

issues: For example: staking 2 .000.000(?) plastic cups that the commercial airlines alone use

each year and that are not recycled due to the respective industries policies -www.ted.com

As a digital media artist, my work is located at the nexus of historically distinct practices and modes of

knowledge production: art and activism, theory and practice. Underlying all of my research is a

commitment to participatory culture.

Congolese playwright and socio-political activist, Thierry N'Landu, teaches

Anglo-American literature at the University of Kinshasa, in the Democratic

Republic of the Congo (DRC), and is a founding member of the Kinshasa-based

theatre troupe, Le Groupe Amos. He is also Executive Secretary of the ProvincialGovernment in Kinshasa. Created in 1989 and taking its name from the Old

Testament prophet, Le Groupe Amos provides tools for grass-roots activism

through video documentaries, plays, paintings, radio broadcasts, and

publications on topics such as free and democratic elections, violence against

women, political parties, and local history and culture. Designed by and for

largely illiterate communities, these works are produced in French and in local

languages, such as Lingala. Branching beyond the DRC, N'Landu has been an

activist and trainer on human rights, the rule of law, and conflict resolution, and

has served as a program officer for the International Human Rights Law Group.

N'Landu is an Abramovitz artist-in-residence at MIT for April 2008.
http://www.madehereproject.org/http://www.madehereproject.org/http://www.ted.com/http://www.ted.com/http://www.ted.com/http://www.ted.com/http://www.madehereproject.org/


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http://www.fas.harvard.edu/~afrart/activ_bios.htmlApril 16-17, 2008 - Harvard

University

"Art as Activism (and its limits)

Outsider deviant art activism.

Improv Everywhere is a New York City-based prank collective that causes scenes of chaos and joy in public places.

Created in August of 2001 byCharlie Todd, Improv Everywhere has executed over 100missionsinvolving tens of

thousands of undercover agents

http://improveverywhere.com/

Squatting - Us, uk, Berlin, Amsterdam some cities in Italy

213 (collectivism after Modernism)

In the United Kingdom, as in Amsterdam, Berlin, and cities in Italy, squatters had a sounder legalbasis for taking vacant buildings, and the movement was older, wider, and better organized.

Throughout the 1990s, the Squall collective organized squatters and ravers in England participants

in the nomadic dance and music culture called rave against repressive legislation. A strong radical

ecology movement fought against building new roads, and in the mid-1990s, spectacular art-based

activism arose in the group Reclaim the Streets. RTS demonstrations were ludic occasions, styled as

parties and celebrations. This reflects a theoretical current that has guided activist cultural work

since 1968, an ethic of urban play based in the revolutionary urbanist theories of the Situationists

(especially Constant) and their academic ally Henri Lefebvre who wrote of the social production of

space. Strategies of cultural activism have been renewed and enlarged with the emergence of a

broad popular global anticorporate movement in the late 1990s. Organized against the rise of

neoliberalism, new cooperative modes rely on affinity groups and central spokescouncils to organize

and direct actions. International demonstrations in the early twenty-Wrst century were carefully

choreographed affairs, coordinated by e-mail lists and text messaging to cellular phones, with

groups of actors differently garbed depending upon their intentions for a particular situation. A

shifting array of contingent artists collectives supported the street work with costumes, posters,

banners, and performances. The emphasis was on telegenic spectacle and tactical surprise. As the

example of this activism makes clear, the Internet is a powerful networking tool that is inexorably

transforming the social sphere. As access to the World Wide Web spread in the 1990s, a global

movement of anticorporate activists at last became visible to its geographically separated

constituents. Alternative Internet-based media was inspired by the example of the Serbian

independent radio station B92 that switched to streaming its signal over the Internet after the

wartime government closed its transmission tower in 1996. After the events of Seattle in 1999, new

activist media like the global IndyMedia network arose helping to connect the movement by

reporting on demonstrations and actions. Many of these Web sites use collaborative authoring

software, so that visitors can post their own stories and photos to the site.

Stimson, Blake (Editor); Sholette, Gregory (Editor). Collectivism after Modernism : The Art of

Social Imagination After 1945.

Minneapolis, MN, USA: University of Minnesota Press, 2007. p 213.http://site.ebrary.com/lib/coventry/Doc?id=10215801&ppg=232
http://www.fas.harvard.edu/~afrart/activ_bios.htmlhttp://www.fas.harvard.edu/~afrart/activ_bios.htmlhttp://www.improveverywhere.com/charlie_todd/http://www.improveverywhere.com/charlie_todd/http://www.improveverywhere.com/charlie_todd/http://www.improveverywhere.com/missions/http://www.improveverywhere.com/missions/http://www.improveverywhere.com/missions/http://improveverywhere.com/http://improveverywhere.com/http://improveverywhere.com/http://www.improveverywhere.com/missions/http://www.improveverywhere.com/charlie_todd/http://www.fas.harvard.edu/~afrart/activ_bios.html


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There is a continuous conflict between artists, many of them involved with collectives and

public art, who seek to enlarge the sphere of public creativity, and an art market that

requires a scarcity of artistic products. This is basically a conflict between inventive creativity

and the embodied power of capital. 52 Artists collectives regularly address questions of

intellectual property that have become key legal issues in the twenty-first century. Chief

among these is the issue of copyright. General Idea was sued by Life magazine in the late

1970s over the format of their artists periodical File. The Residents, a mysterious San

Francisco rock group that performed anonymously wearing tuxedos, top hats, and big

eyeballs on their heads, made a collage music that was at the heart of an avant-garde rock

music scene. Small in commercial terms, it evaded industry control. Negativeland, another

San Francisco media art group, was dramatically sued for their collage work. Like collage

Wlms and sampling music for rap recordings, questions around the proprietorship of culturalproperty have arisen continuously as the outcome of artistic practice in multiple media. 53

Collectives acting like corporations diffuse responsibility. They add to the traditional outlaw

and revolutionary expedient of the alias. Within the Neoist movement, malleable artistic

identities arose that could be claimed by any participant, like Monty Cantsin and Luther

Blisset. 54






In general, tactical media (TM) are expressions of dissent that rely on artistic practices and

do it yourself (DIY) media created from readily available, relatively cheap technology and

means of communication (e.g., radio, video and Internet). Gregg Bordowitz adds that they

are a constantly evolving set of approaches . . . collectively produced (Bordowitz, in VCB

2002).

Boler, Megan. Digital Media and Democracy : Tactics in Hard Times.

Cambridge, MA, USA: MIT Press, 2008. p 71.


Copyright 2008. MIT Press. All rights reserved.

LikePixelator:an outlaw guerrilla project that uses NYC subway entrances as its canvas, covering

those eye-stabbingly ugly video billboards with a lit-up panel of 45 color- changing blinking

squares. We love theextreme euphemismwith which the team behind it, Jason Eppink and Jen

Small, talks about the work, calling that ultimate bottom-of-the-barrel advertising exhibitions

and the suits behind it artists, as if only to draw our attention to the point: our aestheticsensibility is being relentlessly polluted by the visual atrocities of the corporate world.
http://www.jasoneppink.com/pixelator/http://www.jasoneppink.com/pixelator/http://www.jasoneppink.com/pixelator/http://www.jasoneppink.com/pixelator/#abouthttp://www.jasoneppink.com/pixelator/#abouthttp://www.jasoneppink.com/pixelator/#abouthttp://www.jasoneppink.com/pixelator/#abouthttp://www.jasoneppink.com/pixelator/


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Pixelator is an unauthorized on-going video art performance collaboration with the New York City

Metropolitan Transit Authority, CBS Outdoor, and its selected artists.

http://jasoneppink.com/pixelator/

Twitter: who cares?Twitter was the final topic of debate I attached myself to, which cameup under the provocative question, 'Who cares?' This was a juicy one,withLeeds Art GalleryDirector Sarah Brown amongst others, takingpart. As is often the case many people felt overwhelmed by Twitterand couldn't see the point of it unless you wanted to promote yourself.Because of its seemingly narcissistic tone (it's a lot of 'I's just 'me'-ing)many artists reject Twitter outright as shallow and commercial. The

alternative view point is that rather than see Twitter as a vehicle forself promotion, as a billion baby birds tweeting for attention, it is also acontinuously evolving and many-sided conversation, a way ofconnecting with those you wish to be in contact with and sharingideas, knowledge and experience.

Appropriately enough, throughout the day myself and others weretweeting live under the hashtag #artconvo. Hundreds of people fromall over the world were contributing live to this thread, which is stillrunning, and you can read the latest contributions by goingtoTwitterand searching for #artconvo. Better hurry though beforethese ephemeral tweets vanish into the ether.

3. Social art activism through the use of the internet

Gregg Bordowitz adds that they are a constantly evolving set of approaches . . . collectively

produced (Bordowitz, in VCB 2002).





New Media artists often work collaboratively, whether in ad-hoc groups or in long-term

partnerships. [...] Many New Media projects [...] require a large range of technological and

artistic skill to produce.
http://www.mta.info/http://www.mta.info/https://www.cbsoutdoor.com/http://jasoneppink.com/pixelator/http://jasoneppink.com/pixelator/http://www.leeds.gov.uk/artgallery/http://www.leeds.gov.uk/artgallery/http://www.leeds.gov.uk/artgallery/http://twitter.com/artists_talkinghttp://twitter.com/artists_talkinghttp://twitter.com/artists_talkinghttp://twitter.com/artists_talkinghttp://www.leeds.gov.uk/artgallery/http://jasoneppink.com/pixelator/https://www.cbsoutdoor.com/http://www.mta.info/http://www.mta.info/


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- Extensive use of appropriation as an artistic or otherwise means of communication and

expression led companies to lobby successfully for new, further restrictive intellectual property

laws (new media art 14)

By the 1997, net art had become an established pocket of relatively autonomous art making,

though it had not succeeded in reaching a wider public 73 internet art

"Super Mario Clouds" was a classic before the Whitney installed it. In 2002, Arcangel uploaded a video of

the clouds to the Internet, along with his source code and a tutorial on hacking the game cartridge. Like

many programmers, he believes that coding should be "open source"--transparent to all.

Anti-corporation manifestos, actions

London RTS was part of the Peoples Global Action (PGA), a grassroots counterglobalization

network that emerged in 1997.






In an effort to raise awareness of the increasing influence of multi-national corporations many

artists develop web-sites and engage in organized acts, performances that critique corporate

culture by emulating it

scale. Collective aesthetic practices, proliferating in social networks outside the institutional

spheres of art, were one of the major vectors for this double desire to grasp and transform the

new world map. A radically democratic desire that could be summed up in a seemingly

impossible phrase: do-it-yourself geopolitics. J18, OR THE FINANCIAL CENTER NEAREST YOU

Does anyone know how it was really done? 6 The essence of cooperatively catalyzed events is to

defy single narratives. But it can be said that on June 18, 1999 (J18), around noon, somewhere

from to ten thousand people Xooded out of the tube lines at Liverpool station, right in the

middle of the City of London (Figure 10.1). Most found themselves holding a carnival mask, in

the colors black, green, red, or gold the colors of anarchy, ecology, and communism, plus high

specially for the occasion.






the application of long-standing principles of intellectual property and copyright to knowledge and

information has proven difficult in practice, leading to subtle (and not-so-subtle) restrictions of

creativity and self-expression.


11/18





a. Artists which use mass media communication directly in their work

Recent years have seen the rise of viral marketing, which depends on peoples desire to spread

slogans, jokes, images, lightweight media such as stickers, tee-shirts, video clips on YouTube.





Artist Aaron Koblin uses data and digital media in order to reflect contemporary mass-culture trends.

The Johnny Cash Project crowd-sources

Artists: Young-hae Chang and Marc Voge artist collaboration as Young-Hae Chang Heavy Industries

using flash to tell stories; BUST DOWN THE DOORS! (2000) - the story of agressors invading into a

house use of all 3 persons in narrating .

2004 BUST DOWN THE DOORS AGAIN! GATES OF HELL VICTORIA VERSION

- Net art without interaction but that is aimed to change opinionsuse of internet

refrigerators to display their video because an internet refrigerator helps keep women in

the kitchen as opposed to what the advertisers would want to make you believe- that it puts

the housewife at cutting edge technology.

Page 94

paradoxical temptations for artists is to use the cooperative of the event to directly represent the

globalized state to show its true face, or to become its distorted mirror. This is what the Yes Men

have done, by launching a satirical mirror-site gatt.org as a way to pass themselves off as

representatives of the World Trade Organization (WTO). 20 Appearing before a lawyers conference

in Austria, on a British TV news show, at a textile industry convention in Finland, or at an

accountants congress in Australia, always at the invitation of unsuspecting functionaries, the Yes

Men reverse the usual activists position of speaking truth to power. They speak the truth of

power, by complying with it, assenting to it, overidentifying with it, exaggerating and amplifying its


12/18

basic tenets, so as to reveal the contradictions, the gross injustices. And in this way, they bring the

critical distance of art into the closest possible contact with political life.

Stimson, Blake (Editor); Sholette, Gregory (Editor). Collectivism after Modernism : The Art of SocialImagination After 1945.




www.yhchang.com/GATES_OF_HELL.html

b. Hacktivism the use of computers and computer networks as a means to promote political ends

Hacktivism represents the social and political activism and hacking combined. (Page 17 NMart)

Anonymus

The first etoy projects consisted of various actions carried out during raves or in galleries such as

Protected by etoy, before moving to a media hijack stage ranging from a TV show where an etoy

agent made a fleeting appearance, to the first major on-line hijack, The Digital Hijack in 1996during which important Web research portals were hijacked, and the Toywar of 1999-2000, an

unprecedented information conflict against the American toy retailer eToys Inc.

Through artistic events involving a critique of how information is circulated, etoy's art builds

strong connections between art and economy, politics and anti-authority. Enraptured with the

hacktivist culture, disrupting and swamping the flows transiting through the Internet, etoy's

approach -- thus describable as subversive or entropic -- even warranted the opening of an FBI

investigation: "We try to disturb conventional information channels and in that sense, etoy is a

political group. But we do not have a political message. Our message is our lifestyle in our new

'Heimat,' the Internet."(FN14)

http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=504932857&site=ehost-live

(online journal)

Anonymous is a decentralized network of individuals focused on promoting access to

information, free speech, and transparency. The group has made international headlines by

exposing The Church of Scientology, supporting anti-corruption movements in Zimbabwe

and India, and providing secure platforms for Iranian citizens to criticize their government.

Anonymous Analytics, a faction of Anonymous has moved the issue of transparency from the

political level to the corporate level. To this end, we use our unique skill sets to expose

companies that practice poor corporate governance and are involved in large-scale

fraudulent activities.
http://www.yhchang.com/GATES_OF_HELL.htmlhttp://www.yhchang.com/GATES_OF_HELL.htmlhttp://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=504932857&site=ehost-livehttp://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=504932857&site=ehost-livehttp://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=504932857&site=ehost-livehttp://www.yhchang.com/GATES_OF_HELL.html


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In January 2011,Anonymous, in response to the2011 Egyptian protests, attacked Egyptian

government websites and voiced support for the people ofEgypt.

http://anonanalytics.com/in_the_news

Knowbotic Research

Critical art ensemble

Cory Arcangel

The advent of the internet has made it feasible for artists and others to organize international

grass-roots movements and to engage in social disobedience actions. Page 17 NMA

Using tactical media, Electronic Disturbance Theatre (EDT) blended art and politics by initiating a

series of online civil disobedience actions in support of the Zapatista rebels, a revolutionary

movement of indigenous people in Chiapas, Mexico, fighting against ongoing governmental

oppression.

They developed an applet called FloodNet and encouraged fellow activists around the world to

download and run it. The applet was designed to access non-existing pages that would contain the

names of the killed Zapatistas, thus inscribing their names on the servers error log. By inscribing

their names in the servers log they were effectively flooding the server, thus, making the

government website inaccessible.

1998www.thing.net/~rdom/ecd/ecd.html

Page 40 NMA

The use of alternate identities in order to prove a point, make a statement, destroy, create.

CORNELIA SOLLFRANK

In 1997the year Vuk Cosic coined the term net.art and documenta X, the highly regarded

exhibition of contemporary art included internet based work for the first time the hamburger

KunsthalleGalerie der Gegenwart announced that it would be the first museum in the world to

host an international Net art competition. The museum called the project Extension.

Sollfrank created FemaleExtensions using a computer program to scan the web for existing

HTML material and remixed the data and imagery to fashion ersatz works that vaguely resemble the

HTML deconstructions of Jodi. She entered the competition with Female Extensions and flooded

the competition with phony female entrants.

The program Net Art Generator -
http://en.wikipedia.org/wiki/Anonymous_(group)http://en.wikipedia.org/wiki/Anonymous_(group)http://en.wikipedia.org/wiki/Anonymous_(group)http://en.wikipedia.org/wiki/2011_Egyptian_protestshttp://en.wikipedia.org/wiki/2011_Egyptian_protestshttp://en.wikipedia.org/wiki/2011_Egyptian_protestshttp://en.wikipedia.org/wiki/Egypthttp://en.wikipedia.org/wiki/Egypthttp://en.wikipedia.org/wiki/Egypthttp://anonanalytics.com/in_the_newshttp://anonanalytics.com/in_the_newshttp://www.thing.net/~rdom/ecd/ecd.htmlhttp://www.thing.net/~rdom/ecd/ecd.htmlhttp://www.thing.net/~rdom/ecd/ecd.htmlhttp://www.thing.net/~rdom/ecd/ecd.htmlhttp://anonanalytics.com/in_the_newshttp://en.wikipedia.org/wiki/Egypthttp://en.wikipedia.org/wiki/2011_Egyptian_protestshttp://en.wikipedia.org/wiki/Anonymous_(group)


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Although thanks to Sollfrank the majority of the contestants were female, all three prize winners

were male a result Dollfrank attributes to the widespread sexism that biases the selection of artists

for exhibitions.

Velvet-Strike 82

Anne-Marie Schleiner, Joan Leandre and Brody Condon

www.opensource.net/velvet-strike

Counter-strike virtual space games that has an over simplistic convergeance of network shooter

games and contemporary Middle Eastern politics in a game (

Velvet strike is an artistic intervention that encourages players of Counter strike to sabotage the

game and to insert inside the game counter-military graffiti, it also includes instructions on how to

stage virtual protests using games figures.

c. Media blogging and political dissent spreading ideas through the use of the internet and

encouraging acts of revolution/ action

What has the internet ever done for art?

Social networking media as artworkAnother discussion I was in on revolved around the question of if and

when social networking media such as Twitter and Facebook can gobeyond interpreting work to becoming artworks in their own right.

Artist Larna Campbell, whose work is based on dialogue andexchange, believes very much in this potentiality, an assertion that ledus to reflect on the apparent lack of longevity of works - and blogs -that exist only in the virtual world and the implications of this forarchiving cultural production. You can view Larna's Twitter pagehere.Self-styled 'social media starlet' Caron Lyon of PCM Creativerecorded a snippet of this chat. You can listen to this and others from

the dayhere.Larna Campbell is a visual artist who makes work in response to her experience of the world around her. Finding

inspiration in the moment and in the everyday as well as in the extraordinary, Larna develops artwork out of a process
http://www.opensource.net/velvet-strikehttp://www.opensource.net/velvet-strikehttp://twitter.com/LarnaCampbellhttp://twitter.com/LarnaCampbellhttp://twitter.com/LarnaCampbellhttp://audioboo.fm/boos/267646-larnacampbell-artists_talking-artconvo-social-media-as-mediumhttp://audioboo.fm/boos/267646-larnacampbell-artists_talking-artconvo-social-media-as-mediumhttp://audioboo.fm/boos/267646-larnacampbell-artists_talking-artconvo-social-media-as-mediumhttp://audioboo.fm/boos/267646-larnacampbell-artists_talking-artconvo-social-media-as-mediumhttp://twitter.com/LarnaCampbellhttp://www.opensource.net/velvet-strike


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of research, dialogue, exploration and making. Current research includes exploring text and representations of

emotive narratives through a series of artworks incorporating handmade paper, performance and print.

http://www.a-n.co.uk/artists_talking/article/1089257

WikiLeaks is an international self-described not-for-profit[2]

organisation that publishes submissions of

private, secret, and classified media from anonymousnews sources,news leaks, andwhistleblowers.

Its website, launched in 2006 under The Sunshine Press organisation,[5]

claimed a database of more

than 1.2 million documents within a year of its launch.[6]

Julian Assange, an AustralianInternet

activist, is generally described as its founder, editor-in-chief, and direct

arK

On Monday 15 June 2009, the Twitter Blog announced that it would be postponing a planned

maintenance shutdown, given the recognition of the role Twitter is currently playing as an

important communication tool in Iran (Twitter, 2009). 1 On the same day as Twitters postponed

maintenance, the New York Times reported that Iranians are blogging, posting to Facebook and

most visibly coordinating their protests on Twitter, the messaging service (Stone & Cohen, 2009).

Hands, Joss. @ Is for Activism : Dissent, Resistance and Rebellion in a Digital Culture.

London, GBR: Pluto Press, 2010. p 1.


Copyright 2010. Pluto Press. All rights reserved.

d. Artist Corporations, collaboration social Activism and all his might

www.rtmark.com

1996-2002 art mark considers themselves an actual Corporate company, and profits from its

corporation protections. They engage in both anti-corporate and antigovernmental actions and

also endeavours into Raising Funds for fellow art-activist law-suits.

In 1999, RTMARK launched GWBush.com, a highly convincing spoof of George W. Bushs 2000

presidential campaign Web site. RTMARK site mocked Bush and instructed site visitors to conduct

informal polls and submit the result to the Bush camp. It prompted Bushs comment there should

be limitations to freedom. (NMA, page 80)

A genre of net art aesthetics nicknamed contagious media took penetration as its priority: that is,

how quickly and extensively a project could spread via the viral networks of email, web and instant

messaging. Its credo, as noted by artist Jonah Peretti, is to make something that people want toshare with their friends. If you do that successfully, you can reach a large audience through word of
http://www.a-n.co.uk/artists_talking/article/1089257http://www.a-n.co.uk/artists_talking/article/1089257http://en.wikipedia.org/wiki/Wikileaks#cite_note-About-1http://en.wikipedia.org/wiki/Wikileaks#cite_note-About-1http://en.wikipedia.org/wiki/Wikileaks#cite_note-About-1http://en.wikipedia.org/wiki/Journalism_sourcinghttp://en.wikipedia.org/wiki/Journalism_sourcinghttp://en.wikipedia.org/wiki/Journalism_sourcinghttp://en.wikipedia.org/wiki/News_leakhttp://en.wikipedia.org/wiki/News_leakhttp://en.wikipedia.org/wiki/News_leakhttp://en.wikipedia.org/wiki/Whistleblowerhttp://en.wikipedia.org/wiki/Whistleblowerhttp://en.wikipedia.org/wiki/Whistleblowerhttp://en.wikipedia.org/wiki/Wikileaks#cite_note-4http://en.wikipedia.org/wiki/Wikileaks#cite_note-4http://en.wikipedia.org/wiki/Wikileaks#cite_note-4http://en.wikipedia.org/wiki/Wikileaks#cite_note-5http://en.wikipedia.org/wiki/Wikileaks#cite_note-5http://en.wikipedia.org/wiki/Julian_Assangehttp://en.wikipedia.org/wiki/Julian_Assangehttp://en.wikipedia.org/wiki/Julian_Assangehttp://en.wikipedia.org/wiki/Internet_activismhttp://en.wikipedia.org/wiki/Internet_activismhttp://en.wikipedia.org/wiki/Internet_activismhttp://en.wikipedia.org/wiki/Internet_activismhttp://www.rtmark.com/http://www.rtmark.com/http://www.rtmark.com/http://en.wikipedia.org/wiki/Internet_activismhttp://en.wikipedia.org/wiki/Internet_activismhttp://en.wikipedia.org/wiki/Julian_Assangehttp://en.wikipedia.org/wiki/Wikileaks#cite_note-5http://en.wikipedia.org/wiki/Wikileaks#cite_note-4http://en.wikipedia.org/wiki/Whistleblowerhttp://en.wikipedia.org/wiki/News_leakhttp://en.wikipedia.org/wiki/Journalism_sourcinghttp://en.wikipedia.org/wiki/Wikileaks#cite_note-About-1http://www.a-n.co.uk/artists_talking/article/1089257


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mouth. This creates new opportunities for art distribution and activism. Peretti (b 1974) (204,

Green, 2004)

Perettis project Black People love us (2002) satirizes subtle forms of white racism by parodying a

couple who think themselves politically progressive and emancipated. The wide reach of contagious

media - The Nike sweatshop email and Black people Love us together drew more than fiteen million

viewers

In the hastily capaitalized Internet Business, entrepreneurial patterns often reciprocated

artistic strategies.Pseudo.com (closed 2000) was an online entertainment business

positioned to catch a posttelevision wave that did not materialize. Their promotions were

more art projects than public relations, their personnel were often artists, and their office

style recalled 1960s guerrilla media groups like TVTV more than the TV networks they

sought to challenge.

Page 215

Point-and-Click Activism

Sunday, June 9, 2002Page 1

By Josh Richman

When a Berkeley Web site recently provided a way to send e-mail peace pleas to Israeli,Palestinian and U.S. leaders, about 10,000 people used it within a day and more than

208,000 within a week - an e-tsunami ranking among that site's strongest responsesever. The Israeli government responded by blocking many of its e-mail addresses fromreceiving the notes, averting much of the flood with the touch of a button.

E-mail drives

Conclusion

Bibliography:

Adam Curtis: All watched over by machines of loving grace (series)

http://www.undertheumbrella.net/

Scott, Andrea K.. New Yorker, 5/30/2011, Vol. 87 Issue 15, p30-34, 5p, 1 Color Photograph

iwai toshiohttp://www.installationart.net/Chapter4Recombination/recombination05.html
http://www.undertheumbrella.net/http://www.undertheumbrella.net/http://www.installationart.net/Chapter4Recombination/recombination05.htmlhttp://www.installationart.net/Chapter4Recombination/recombination05.htmlhttp://www.installationart.net/Chapter4Recombination/recombination05.htmlhttp://www.installationart.net/Chapter4Recombination/recombination05.htmlhttp://www.undertheumbrella.net/


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http://pleaseenjoy.com/

http://www.thebubbleproject.com/

http://www.eactivist.org/eactivist/Oakland_Tribune.htm

subjects:

Animal Rights

AntiRacism

Corporate Accountability

Environment

Grassroots Democracy and Civil Rights

Health and Safety

Human Rights

Labor

Media

Nonviolence and Peace

Women and Children's Rights

http://audioboo.fm/boos/267646-larnacampbell-artists_talking-artconvo-social-media-as-medium

#artconvo as medium

Larna Campbell dialog and communication as art medium

On twiter

Openness to other peoples input,

Andrew Briant artists talking
http://pleaseenjoy.com/http://pleaseenjoy.com/http://www.thebubbleproject.com/http://www.thebubbleproject.com/http://www.eactivist.org/eactivist/Oakland_Tribune.htmhttp://www.eactivist.org/eactivist/Oakland_Tribune.htmhttp://www.eactivist.org/eactivist/animal_rights.htmlhttp://www.eactivist.org/eactivist/animal_rights.htmlhttp://www.eactivist.org/eactivist/antiracism.htmlhttp://www.eactivist.org/eactivist/antiracism.htmlhttp://www.eactivist.org/eactivist/corporate_accountability.htmlhttp://www.eactivist.org/eactivist/corporate_accountability.htmlhttp://www.eactivist.org/eactivist/environment.htmlhttp://www.eactivist.org/eactivist/environment.htmlhttp://www.eactivist.org/eactivist/democracy.htmlhttp://www.eactivist.org/eactivist/democracy.htmlhttp://www.eactivist.org/eactivist/health_safety.htmlhttp://www.eactivist.org/eactivist/health_safety.htmlhttp://www.eactivist.org/eactivist/human_rights.htmlhttp://www.eactivist.org/eactivist/human_rights.htmlhttp://www.eactivist.org/eactivist/Labor_Actions_By_State/Labor_Home.htmhttp://www.eactivist.org/eactivist/Labor_Actions_By_State/Labor_Home.htmhttp://www.eactivist.org/eactivist/The_Media.htmlhttp://www.eactivist.org/eactivist/The_Media.htmlhttp://www.eactivist.org/eactivist/nonviolence.htmlhttp://www.eactivist.org/eactivist/nonviolence.htmlhttp://www.eactivist.org/eactivist/women_children.htmlhttp://www.eactivist.org/eactivist/women_children.htmlhttp://audioboo.fm/boos/267646-larnacampbell-artists_talking-artconvo-social-media-as-mediumhttp://audioboo.fm/boos/267646-larnacampbell-artists_talking-artconvo-social-media-as-mediumhttp://audioboo.fm/boos/267646-larnacampbell-artists_talking-artconvo-social-media-as-mediumhttp://www.eactivist.org/eactivist/women_children.htmlhttp://www.eactivist.org/eactivist/nonviolence.htmlhttp://www.eactivist.org/eactivist/The_Media.htmlhttp://www.eactivist.org/eactivist/Labor_Actions_By_State/Labor_Home.htmhttp://www.eactivist.org/eactivist/human_rights.htmlhttp://www.eactivist.org/eactivist/health_safety.htmlhttp://www.eactivist.org/eactivist/democracy.htmlhttp://www.eactivist.org/eactivist/environment.htmlhttp://www.eactivist.org/eactivist/corporate_accountability.htmlhttp://www.eactivist.org/eactivist/antiracism.htmlhttp://www.eactivist.org/eactivist/animal_rights.htmlhttp://www.eactivist.org/eactivist/Oakland_Tribune.htmhttp://www.thebubbleproject.com/http://pleaseenjoy.com/


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http://www.larnacampbell.co.uk/

http://paper.li/LarnaCampbell/1312922412 This is a on-line newspaper created through digital

media, that encourages people to contribute their stories about art.
http://www.larnacampbell.co.uk/http://www.larnacampbell.co.uk/http://paper.li/LarnaCampbell/1312922412http://paper.li/LarnaCampbell/1312922412http://paper.li/LarnaCampbell/1312922412http://www.larnacampbell.co.uk/

dissertation -social activism through the use of internet in contemporary urban artistic practice

Documents