Mine, yours, ours 2015 / Moje, tvoje naše 2015 by Drugo more

MINE YOURS OURS #10 Network 23.– 25. 04. 2015

he theme of this year's tenth edition deavours for social change. Yet it seems difficult of Mine, Yours, ours festival is network. to intimidate people with non-human beings and Network is a term for structure of lines and systems and therefore new movements arise pathways that represent the key form of our that manifest their resistance within the network contemporary life. Metaphors often reflect our and create new battlefields of political struggle. notion of the world; in the 20th century com- Although we are dealing with asymmetrical warmon metaphors where that of mechanical and fare, e.g. guerrilla warfare, where on one side we organic and today the dominant metaphor is have whistleblowers, hackers and activists, and network. The metaphors we use depend on our on the other side a powerful army of corporageneral notion of the world, and it seems today tions and governments, the war is not over yet we see our world primarily through information for the optimism of the subordinated is still alive. or information flow. This change of metaphor This year's program brings bits and pieces is partly due to our optimistic view of possible that will enrich the new metaphor that reflects changes in our social reality - a departure from our world today. With these bits and pieces we hierarchy towards a more egalitarian society. can build new hubs of knowledge and action However there seems to be nothing liberating that will inform, inspire and enable further action. from changing old metaphors with a new one, since the social reality is formed by new struc- —— Davor Mišković tures with their own forms of control. It is obvious that decentralization or crowd ideology do not present a value per se but a mechanism that is equally susceptible to war, advertising, terrorism, activism, subordination and force. The societies are not more egalitarian but are divided, as are religious visions of gods and mortals, or rulers and servers. Though what characterizes networks is the fact you cannot pinpoint to a particular centre of power, for power is anonymous and inhumane. The network brought back a system that is above human notions of power and control, a system that paralyzes human en-

Thursday, 23 April

18.00 Tatiana Bazzichelli Networked Disruption presentation ① p. 23 20.00 Networked Disruption exhibition opening ① p. 5 21.00 Transponder Transponder Party party ② p. 28

Friday, 24 April

18.00 Richard Barbrook The Californian Ideology lecture ③ p. 24 – twenty years after 20.00 Stephen Wright Interruptive Usership lecture ③ p. 25

Saturday, 25 April

18.00 Arne Hintz WikiLeaks, Leak Activism lecture ③ p. 26 and Media Transformation 20.00 Political implications DISCUSSION ③ p. 27 of networks

① Museum of modern and contemporary art, Dolac 1, Rijeka ② OKC Palach, Kružna 8, Rijeka ③ Filodrammatica, Korzo ²⁸ ⁄ ₁, Rijeka

E XHI BI TION

NETWORKED DISRUPTION Rethinking Oppositions in Art, Hacktivism and Business

1. OCTO P7C-ES p. 8 2. Neoism  p. 9 3. Anonymous  p. 10 4. Mail Art p. 11 5. Suicide Club / p. 12 Cacophony Society / Burning Man / Billboard Liberation Front 6. Luther Blissett  p. 13 7. Anna Adamolo  p. 14 8. Disruptive Feedback p. 15 Loop Diagram 9. Les Liens Invisibles p. 16 10. Janez Janša , Janez Janša, p. 17 Janez Janša 11. Peng! Collective p. 18 12. Laura Poitras p. 19 13. Trevor Paglen p. 20 14. Julian Oliver p. 21

Curator: Tatiana Bazzichelli; Exhibition opening: 23. April 2015. at 20 h; Izložba je otvorena do: 14. 05. 2015.; Museum of Modern and Contemporary Art, Rijeka; Exhibition design: Janez Janša, Slaven Tolj; Executive producers: Petra Corva i Dubravko Matanić; Equipment: MMSU Rijeka; Documentation: Magdalena Rikanović; Production: Drugo more, Aksioma – Institute for Contemporary Art 2015; Coproduction: Muzej moderne i suvremene umjetnosti Rijeka, Abandon Normal Devices, Galerija Kapelica, Peek&Poke, Moderna galerija Ljubljana; Partners: d-i-n-a / The Influencers, Link Art Center.

What is Networked Disruption?

his exhibition brings together artworks reaching a curatorial synthesis, we invite visitors and collectives that apply the strategy of to create their own path in the line of disruption. “disruption” to generate criticism. Disruption is networked. Enjoy it before In the business world, disruption means to it is spoiled. introduce into the market an innovation that the market does not expect. This innovation comes —— Tatiana Bazzichelli from within the market itself. Transferred into the field of art and activism, disruption means to generate practices and interventions that are unexpected, and play within the systems under scrutiny. Art, hacktivism and business are often intertwined, generating a feedback loop of revolutions and co-optations that is functional to the development of capitalism. Capitalism needs our revolutions because they generate new lifestyles, products and practices that create new markets and consumer desires. Similarly, systems of power need our resistance and opposition because they serve to increase security and forms of control. We need to find new strategies that go beyond the mere act of opposition and that are harder to appropriate. In this exhibition we adopt the concept of disruption from business and we propose works that emerge from within political, economical, technological and art systems. They play with their power logic generating virality, anonymity, semantic confusion, multiple truths, and disruption. Diverse points of view are combined, among the groups and within the groups themselves. By keeping such connections open without

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

OCTO P7C-ES

Installation, various materials ( 2013–2015 )

n the occasion of Networked Disruption, Telekommunisten will present to potential investors and partners a brand new product of OCTO, the leader in pneumatic physical packet communication systems. What OCTO is developing for global users is now available for your company or institution. OCTO's new Enterprise Security ( ES ) System is the most effective way to maintain security and efficiency in your company's physical Intranet. The OCTO P7C-ES features revolutionary CAPS-LOCK® technology, a fully-integrated system which allows complete tracking and capsule contents control ( 3CT ) for every transmission, and ensures that only authorized users are able to use your OCTO P7C-ES. CAPS-LOCK® also provides unprecedented insights into and control over the behaviour of your employees, allowing you to manage workloads and task assignment better than ever before. With CAPS-LOCK®, OCTO P7C-ES is the comprehensive enterprise solution for physical packet security and reliability.

Telekommunisten is a Berlin-based collective whose work investigates the political economy of communications technology. Core themes include the incompatibility of capitalism with free networks and free culture, and the increasing centralisation and enclosure that results, as well as the potential for distributed producers employing a collective stock of productive assets to provide an alternative economic basis for a free society.

8 NETWORKED DISRUPTION – OCTO P7C-ES

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

Neoism

Installation with mixed-media ( photos, videos, sound materials ) from Monty Cantsin's Neoist archive. Visitors are invited to use what they like and create their own ( open ) exhibition.

ccording to Monty Cantsin, Neoism is a name invented by Monty Cantsin to refer to an international movement of multiple origins. The name is fixed; the use isn't. The purpose of many different uses of the same name is to experiment with a situation for which no one in particular is responsible. Neoism started as an idea without a clear definition, an empty concept to be appropriated: In the course of the 1980s, it developed into an international subcultural network of people who collectively used the Monty Cantsin identity. This network spread from North America to Europe ( among others, the UK, Germany, Italy, the Netherlands, Yugoslavia, and Hungary ), and later to Australia and Asian countries. The first public manifestations of Neoism were a number of apartment festivals, disruptive interventions in art spaces and other open situations, organized at that time by a young crowd of experimenters and subcultural activists. Activities included setting steam irons on fire, wearing dead fish as hats,

Monty Cantsin is a name chosen / invented by Monty Cantsin to refer to an international star who can be anyone. The name is fixed; the people using it aren't. What is usually an egoistical role ( star ) becomes abstracted by its disassociation from a particular person. When someone thinks / feels that the star context / advantage might be useful, they can “wear” the Monty Cantsin identity.

blood campaigns, free haircuts, telepathic communication through clothes hangers, making the collective-anonymous zine SMILE, and spreading paradoxes, pranks, plagiarisms and fakes.

9 NETWORKED DISRUPTION – Neoism

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

3 Anonymous

Mixed-media materials ( photos, videos, images, publications ) assembled in cooperation with Gabriella Coleman, Chair in Scientific and Technological Literacy at McGill University, author of Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous. London: Verso Books, 2014.

nonymous is constantly changing and in motion. Information about Anonymous is contradictory, not only because these activists are adept at generating pranks, jokes and even deceit, but also because each member can act independently. Moreover, Anonymous has no shared universal political mandate or ideology, aside from a loose commitment to the ideal of concealment captured in its namesake. Given these dynamics of opacity, deceit, and play, sociological questions about its members are less interesting than questions of fantasy and the range of disparate tactics they deploy. Indeed, Anonymous' double-sided approach of spreading pranks for the lulz ( a derivation of lol – laugh out loud ), beyond moral conformism and political correctness, as well as fighting for freedom and social rights, facing corporations, oppression and corruption, is at the core of the project. The fun of trolling and political activism is bound together. Here are videos and pictures from the early trolling experiences in 2007–2008, to the

Anonymous is everyone and is no one ( Anonymous, 2007 ). Anonymous is shrouded in some degree of deliberate mystery. It purports to have no leaders, no hierarchical structure, nor any geographical epicentre. While there are forms of organization and cultural logics that undeniably shape its multiple expressions, it is a name that any individual or group can take on as their own ( Coleman, 2011 ).

most recent political protests in Spain and Ferguson that had large impact on public opinion and civil society.

10 NETWORKED DISRUPTION – Anonymous

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

Mail Art

Mixed-media materials ( installations, photos, prints, stamps, postcards, publications, handmade postal objects ) assembled by mail artist Vittore Baroni and with the participation of the international circuit of mail artists.

he international circuit of mail art, which heels by various authors that the visitors can since the mid-sixties has attracted thou- use to create their own Iconoclast compositions ). sands of participants on a global scale, has always been a grassroots alternative to the “offi- —— Vittore Baroni, March 2015 cial art system”, “disrupting” in many ways the traditional art practices and established rules of Vittore Baroni is an Italian artist, music critic the art market. The objects of mail art ( postcards, and explorer of countercultures. In 1977 he disenvelopes, artists' stamps, etc. ) are created to covered mail art, became heavily addicted in it be exchanged as gifts among the authors and and participated in numerous international proare generally not for sale. Mail art is open to all. jects and shows. He published 100 issues of the There are no distinctions between amateurs, be- magazine ARTE POSTALE! ( 1979–2009 ) and varginners or professional artists. In a mail art pro- ious books on radical music and art, amongst ject there is no selection of works, no jury, no them the mail art guidebook, Arte Postale ( AAA fee to be paid, and no rejection – everything is editions, 1997 ). He is active in the fields of visual exhibited. In the mail art community, the process poetry, sound art, street art, and comics. is more important than the physical product. Mail art circuits have been a fertile breeding ground for disruptive sub-networks such as Neoism and the Luther Blissett Project. This section helps to put into a historical perspective the more recent collective projects documented in the exhibition. A selection of mail art works from the E. O. N. archive ( Viareggio, Italy ) with a more or less explicit disruptive character is presented in the form of colour photocopies arranged in a continuous collage with a series of pertinent quotes. The mail art section also features a collective interactive project ( The Table Of the Little Iconoclast, 2000, with rubberstamps on shoes' NETWORKED DISRUPTION – Mail Art

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

Suicide Club / Cacophony Society / Burning Man / Billboard Liberation Front Mixed-media materials ( photos, prints, videos, publications ) assembled in cooperation with John Law, Chuck Cirino, Olivier Bonin, and Doug Wellman.

hese works bring together into an interlinked space the activities of The San Francisco Suicide Club, The Cacophony Society, the early Burning Man Festival, and the Billboard Liberation Front. Linked to the idea of living everyday life as an art form, these groups have deep roots in experimental art practices, promoting and organizing collective pranks, interventions, games and group performances. The well-known Burning Man Festival, the open-air festival held every year since 1990 in the Black Rock Desert ( Northern Nevada, California ), began as a Cacophony Society “event” and would never have been possible without the previous existence of The San Francisco Suicide Club. The San Francisco Suicide Club ( 1977– 1983 ) was a secret society, which originated as an outgrowth of The San Francisco State Communiversity ( 1969 ), a student group within the Free University Movement of the late 1960s-1970s. The Suicide Club motto was to live each day as though it was your last and its aim was to create

Emerging from the ashes of the Suicide Club, The Cacophony Society ( founded in 1986 by ex-Suicide Club members ) was an informal, unclassifiable group of pseudonymous people who spent their time exploring the boundaries of a conformist society, and occasionally crashing them, by disrupting propaganda, mocking respected symbols ( like in their infamous Santarchy, an invasion of rebellious Santas ), exploring forbidden urban space ( from sewers to bridges ), rebuilding freedom through mayhem, confusion, dangerous operations and sometimes just outright madness. The Billboard Liberation Front started in San Francisco in 1977. The BLF practiced culture jamming by altering and improving billboards, parodying corporate messages and mocking consumer society. A direct influence on Shepard Fairey and Ron English, The BLF was operational for 33 years. John Law was an original member of The Suicide Club, original member of The Cacophony Society, co-founder of The Billboard Liberation

radical contexts for public social experimenta-

Front and co-founder and first operations manager of The Burning Man Festival.

tion, outlandish street theatre, intense interpersonal analysis and urban exploration.

12 NETWORKED DISRUPTION – Suicide Club / Cacophony Society / Burning Man / Billboard Liberation Front

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

Luther Blissett

Mixed-media materials ( posters, photos, prints, stamps, stickers, flyers, sound tracks, publications ) from the Luther Blissett Project's archive assembled in cooperation with Luther Blissett.

he Luther Blissett Project was the applied myth of a common cause. With the aim of disrupting the cultural industry, Luther Blissett was able to create a common phantasmagoria and a shared philosophy throughout the 1990s. It was a “folk hero”, an open identity that could be adapted to anyone, or at least, to all those wanting to subvert the everyday life in the urban space, and the hierarchical mechanisms of power. Luther Blissett also implied a deep criticism of the very concept of politics, questioning authority, leadership, and the mechanism of political representation. Even if many Luthers worked to disrupt capitalism, they also tried to appropriate pop culture for their own ironic purposes, turning their actions into long-lasting collective performances. Between 1994 and 1999 – the year of Blissett's Seppuku, a symbolic suicide orchestrated by some of the early conspirators involved in the LBP – Luther Blissett became an icon for many people involved in the international underground scene. This installation contains

Luther Blissett is a multi-use name, a collective alias, a shared identity adopted by hundreds of artists and activists from the summer of 1994, spreading from Italy to the rest of Europe, to the United States and South America. For reasons that remain unknown, the name, which was borrowed from a 1980s British soccer player of Afro-Caribbean origins, became an extremely popular phenomenon and managed to create the reputation of a folk hero.

various materials shared and spread by Luther Blissett through the network of Bulletin Board Systems, mail art and among the underground circuits of self-organised events and “open situations” in the course of the 1990s.

NETWORKED DISRUPTION – Luther Blissett

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

7 Anna Adamolo

Installation with mixed-media from the Anna Adamolo network. Graphic design: Parcodiyellowstone.it.

nna Adamolo was a fictional identity built up by a network of Italian people with diverse backgrounds and competences, calling for a reflection on political methodology during conflicts. Anna Adamolo managed to become a self-representing Italian Minister of Education, University, and Research in the context of the students' and teachers' struggles operated by the “Onda Anomala” ( Anomalous Wave ) national movement in 2008 and 2009. The Anomalous Wave included many individuals and groups who refused to be described as one movement following the same flag, but whose common objective was to contest and abolish the “Gelmini Education Reform Bill”, bearing the name of the Italian Minister of Education, University and Research, Mariastella Gelmini. From the end of 2008, Anna Adamolo served this unrepresentable movement as a collective name that could be adopted in the squares and in the streets by anyone who chose to do so. The use of Facebook as a strategic medium for viral communication and networking was

Anna Adamolo is the acronym for “Onda Anomala” ( Anomalous Wave ), the name of an Italian movement of students, teachers and researchers protesting against the cuts in the education, university, and research in 2008–2009.

crucial, demonstrating that social media could be

manipulated in unpredictable ways. This installation shows the timeline of the Anna Adamolo experience integrating online and offline practices, and the tools people used to appropriate and spread the Anna Adamolo fictional identity during the months of protests. NETWORKED DISRUPTION – Anna Adamolo

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

Disruptive Feedback Loop Diagram

Tatiana Bazzichelli, Disruptive Loop Diagram, 2011. Graphic design: Jonas Frankki.

n intertwined feedback loop between art, business entrepreneurship and strategies of disruption.

15 NETWORKED DISRUPTION – Disruptive Feedback Loop Diagram

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

9 Les Liens Invisibles

Seppukoo, 2009, installation. Design: Parcodiyellowstone.it.

dapting the idea of Seppuku, the Japanese ritual suicide of “stomach-cutting” to the context of Facebook, Les Liens Invisibles invited users to deactivate their Facebook accounts. Taking inspiration from the Seppuku as performed by Luther Blissett in 1999, the Seppukoo virtual suicide symbolised the collective detachment from a mechanism designed to make profit by connecting people. Users were invited to instigate a viral suicide process so as to increase their score in the Seppukoo ranking system, by inducing their friends to commit virtual suicide as well. The virtual suicide service functioned through a specific script, which derived from the disruption of Facebook's “Deactivate” system. In 2009, it was not possible for users to voluntarily erase their profiles, and the company kept all data. The process of virtual suicide started when a user logged in to the Seppukoo service, the same usually used to log in to Facebook. Through an open source software ( Open Inviter ) and a PHP library, Seppukoo built a sim-

of the people that committed virtual suicide is visible on a screen. Les Liens Invisibles is an Italy-based artist duo. Their work is an eclectic recombination of pop net culture; reverse engineering techniques, social media subvertising, and media re-appropriation. Since 2007 Les Liens Invisibles have been infiltrating global communication networks in order to join and expand the invisible connections between art and real life.

ulated process of user navigation connected to

that of Facebook, in which the user accessed the home page, logged in with his or her username and password, and moved on to the deactivate page. This installation includes videos of the operation that initially used important testimonials to spread the information, and the flow of logs NETWORKED DISRUPTION – Les Liens Invisibles

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

Janez Janša, Janez Janša, Janez Janša

Troika, 2013, Installation.

n 2007, three artists joined the conservative Slovenian Democratic Party ( SDS ). The welcome letter they got from the party's leader and Prime Minister of Slovenia, Janez Janša, ended with the slogan “The more of us there are, the faster we will reach our goal!” Immediately thereafter, each one of the three artists officially changed their names to Janez Janša. With this gesture they questioned the relation between name and identity in wider social, political and cultural context. The artists display a set of official documents indicating: 3 SDS membership cards, 3 ID cards and 3 Mastercards with the reproduction of their earlier action Mount Triglav on Mount Triglav ( the highest mountain in Slovenia and preeminent symbol of the Slovene nation, a stylized depiction of which is the central element of the Slovenian coat of arms, and is in turn featured on the flag of Slovenia. ). These documents are displayed alongside a video showing the initial phase of name's change operation.

Janez Janša ( SI ) is a conceptual artist, performer and producer living in Ljubljana, Slovenia. He is the author of numerous videos, performances, installations and new media works that have been presented in several exhibitions, festivals and lectures around the world. He is the director of the film My Name Is Janez Janša, co-founder

and director of Aksioma – Institute for Contemporary Art, Ljubljana and artistic director of the Aksioma | Project Space. Janez Janša ( SI ) is an artist, writer, performer and director of interdisciplinary performances as well as conceptual and visual artworks. His work contains a strong critical and political dimension and it is focused on the relation between art and the social and political context. He is the author of the book JAN FABRE – La Discipline du chaos, le chaos de la discipline ( Armand Colin, Paris, 1994 ) and was the editor-in-chief of MASKA, Performing Arts Journal from 1999 to 2006. He is the director of the Maska Institute for Publishing, Production and Education based in Ljubljana, Slovenia. Janez Janša ( SI ) is a visual artist working in the cross-section of traditional visual art practices, conceptual art and new media. In 2003, he represented Slovenia at the 50th Venice Biennial. He has shown his work at the Sao Paolo Biennial, Prague Biennial, Limerick Biennial and at numerous other venues.

NETWORKED DISRUPTION – Janez Janša, Janez Janša, Janez Janša

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

11 Peng! Collective

Print: Peng! Collective, Google Nest, 2014, www.pen.gg / googlenest. Video: Google Nest Product Launch #googlenest, at re:publica festival 2014, Berlin, 16:46 min.

n May 2014, Peng! Collective created two personas: “Google employees” Gloria Spindle and Paul von Ribbeck and sent them to the re:publica festival in Berlin, a tech and innovation conference with over 5,000 participants. Not long after Google's actual acquisition of Nest Labs and the growing public curiosity about what Google would do with it, the timing was perfect for Gloria and Paula to present Google Nest, a suite of products designed to make users once again feel safe and connected on the internet, after all those disturbing revelations about surveillance. The products – Google Trust ( insurance against surveillance and data theft ), Google Bee ( personal drones ), Google Hug ( an app to monitor users' emotional needs and match them with others with the same ) and Google Bye ( an online profile for the afterlife ), were supposedly created by Google after an assessment of user needs based on an analysis of their emails and search terms. This installation shows a video of the product launch.

Peng! is a collective producing creative political stunts and enriching campaigns with subversion, humour and civil disobedience. They specialise in subversive direct action, culture jamming and civil disobedience. They use these tactics to create difficult moments for politics and business and make media stories about social justice.

18 NETWORKED DISRUPTION – Peng! Collective

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

Laura Poitras

Video: Laura Poitras / Praxis Films, PRISM: Snowden Interview, June 9, 2013, 12:34 min.

n January 2013, Laura Poitras was contacted by an anonymous source claiming to have evidence of National Security Agency ( NSA ) illegal activity. After several months of anonymous emails, she travelled to Hong Kong with journalist Glenn Greenwald to interview the source, Edward Snowden. Her NSA reporting contributed to a Pulitzer Prize for Public Service awarded to The Guardian and Washington Post. This is the interview of Edward Snowden published on June 9, 2013, when he publically revealed himself and the PRISM Programme to Poitras and Greenwald in the Mira Hong Kong Hotel. Filmed end edited by Laura Poitras / Praxis Films.

Laura Poitras is a Best Documentary Oscar winner filmmaker, a journalist and an artist. She is the author of a trilogy of films about America post–9 / 11. The last film, Citizenfour, is about NSA mass surveillance and Edward Snowden. Along with Glenn Greenwald and Jeremy Scahill, she is co-founder of The Intercept ( firstlook.org / theintercept ).

19 NETWORKED DISRUPTION – Laura Poitras

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

13 Trevor Paglen

Film: Trevor Paglen, Circles, 2015., 12 min.

ircles is a film of a rotating landscape taking the British intelligence and security organisation GCHQ as its focal point.

Trevor Paglen's work blurs the lines between science, contemporary art, and journalism to construct unfamiliar, yet meticulously researched ways to see and interpret the world around us. He is the author of five books and numerous articles on subjects including experimental geography, state secrecy, military symbology, and photography. Paglen's work has been exhibited at the Metropolitan Museum of Art, New York; the Tate Modern, London; the Walker Arts Center, Minneapolis; the San Francisco Museum of Modern Art; and numerous solo and group exhibitions. He holds a Ph. D. in Geography from U. C. Berkeley.

20 NETWORKED DISRUPTION – Trevor Paglen

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

Julian Oliver

Julian Oliver, The Snowden Templates, 2015.

his installation hosts LibreOffice templates based on existing Snowden NSA and GCHQ releases. Offered as canvases for deployment and play, they serve to comment on the unusual predicament that a stream of PDFs from a single source drives clandestine shifts in cultural and political reality. Use the Snowden Templates to fuzz journalists, testing their vigilance and integrity or just to feed your relentless, fist-eating paranoia that the NSA and GCHQ leaks might actually be a part of a vast and evil Alternate Reality Game designed by Glenn Greenwald. After all, as Julian Oliver points out, what do we know?

Julian Oliver is a New Zealander, critical engineer and artist based in Berlin. His work focuses on software art, data forensics, creative hacking, computer networking, counter-surveillance, object-oriented programming for artists, augmented reality, virtual architecture, video-game development, and information visualisation. He is an advocate of Free and Open Source Software and his work has been presented at the Tate Modern, transmediale, the Chaos Computer Congress, Ars Electronica, and FILE – the Japan Media Arts Festival, among others. Julian received the distinguished Golden Nica at Prix Ars Electronica 2011 ( with Daniil Vasiliev ).

21 NETWORKED DISRUPTION – Julian Oliver

DisCURSIVE program

Moje tvoje naše #10 – Mreža – 23.– 2 9. 4. 2015.

Networked Disruption: Rethinking Opposition in Art, Hacktivism and Business

Introducing the exhibition at MMSU. Presentation by Tatiana Bazzichelli 23 April, 18 h @ Filodrammatica

he departure point of this presentation is the assumption that, on the one hand, networking grassroots communities of hackers and artists have served to accelerate capitalism since the emergence of digital culture and cyber-utopias; on the other hand, they have also served to strengthen antagonism against it, by generating critical artistic practices and hacktivist interventions based on technologies and methodologies of sharing and networking. Such mutual disruption and coexisting oppositions between art, business and networking shows how hackers and artists have been both active agents of business innovation as well as those undermining it. In this presentation, the analysis of disruption as a critical framework, and disruptive business as an artistic strategy, become a means for introducing immanent practices of hackers, artists, networkers and entrepreneurs. The concept of business is questioned by its etymology, and from an ethical point of view. The aim is not to create a historical or philosophical analysis of social and artistic practices, but to reflect on different modalities of generating criticism, shedding light on con-

tradictions and ambiguities both in capitalistic logic and in art and hacktivist strategies, while rethinking oppositional practices in the context of network culture. Tatiana Bazzichelli is a curator and researcher, author of the books Networked Disruption ( 2013 ), Networking ( 2008 ), and co-editor of the book Disrupting Business ( 2013 ). She is director of the Disruption Network Lab, an experimental curatorial project on art, hacktivism, and disruption, based in Berlin. She was programme curator at the transmediale festival from 2011 to 2014, initiating the year-round reSource transmedial culture project, and was a Post-Doctoral researcher at the Centre for Digital Cultures, Leuphana University of Lüneburg. http: // www.networkingart.eu http: // www.disruptionlab.org

DISCURSIVE PROGRAM – Networked Disruption: Rethinking Opposition in Art, Hacktivism and Business

Moje tvoje naše #10 – Mreža – 23.– 2 9. 4. 2015.

The Californian Ideology – twenty years after

— Richard Barbrook 24 April, 18 h @ Filodrammatica In 1995, Richard Barbrook and Andy Cameron published The Californian Ideology which is now acclaimed as the pioneering critique of dotcom capitalism. Two decades later, Richard will look back at the historical moment which inspired this article and how its arguments are even more relevant for the 21st century's network society. Richard Barbrook is currently an academic in the School of Social Sciences, Humanities and Languages at the University of Westminster. In the early 1980s, he was involved with pirate radio broadcasting and published extensively on radio issues. Much of his material on media regulation was published in his 1995 book “Media Freedom”. Together with Andy Cameron in the same year he wrote “The Californian Ideology”, a pioneering critique of the neo-liberal politics of Wired magazine, which reports on how emerging technologies affect culture, the economy

Barbrook is one of the cofounders of the situationist ludic-science group Class wargames. The group has reproduced Guy Debords' book and accompanying game Le Jeu de la Guerre. Barbrook also co-wrote the script for the groups film Class Wargames Presents Guy Debord's The Game of War, with Ilze Black as director.

and politics. His other important writings about

the Net include “The Hi-Tech Gift Economy”, “Cyber-communism”, “The Regulation of Liberty”, and “The Class of the New”, while his 2007 study “Imaginary Futures” deals with the political and ideological role of the prophecies of artificial intelligence and the information society. DISCURSIVE PROGRAM – The Californian Ideology – twenty years after

Moje tvoje naše #10 – Mreža – 23.– 2 9. 4. 2015.

Interruptive Usership

— Stephen Wright 24 April, 20 h @ Filodrammatica

ver the past ten or fifteen years, the category of usership has come to the fore in contemporary society, most signally perhaps in the realm of online 2.0 culture, but also due to the challenge to assumptions of expert culture raised by disability studies, and to some extent by the increasing prevalence of immersive art practices eschewing spectatorship in favour of more robust modes of engagement and relationality. But what are the politics of usership? What are the pitfalls, and potentials, of this ancient yet recently repurposed form of practical subjectivity? To start with, usership is both non revolutionary ( inherently non messianic, it has no time to lose ) and structurally irreverent; its profane politics are akin to a sort of radical pragmatism, for while usership is invariably disruptive, it never seeks rupture per se, but rather interruption. As users – we, the users of words, tools, drugs,

Stephen Wright is a Paris-based art writer and teaches the practice of theory at the European School of Visual Arts ( eesi.eu ). His writing has focused primarily on the politics of usership, particularly in contexts of collaborative, extra disciplinary practices with variable coefficients of art. His current research deals above all with the on going usological turn, and current forms of contemporary escapology, in the fields of art and epistemology, examining the conditions of possibility and use of practices which have deliberately withdrawn from the event horizon, necessitating a fundamental reconsideration and repurposing of the conceptual architecture and vocabulary inherited from modernity. In 2013, he published Toward a Lexicon of Usership.

programs – are increasingly seeing our collectively generated value and meanings captured in the framework of so-called “serious games,” interruptive usership may reveal unthought-of political potential: interruption as continuity in the form of a discontinuity – allowing infiltration and new use to be made of existent flux. DISCURSIVE PROGRAM – Interruptive Usership

Moje tvoje naše #10 – Mreža – 23.– 2 9. 4. 2015.

Leaking Social Change: WikiLeaks, Leak Activism and Media Transformation

— Arne Hintz 25 April, 18 h @ Filodrammatica

he WikiLeaks publications in 2010 and the more recent Snowden revelations put the role of whistleblowers on the public agenda. Since then, more leak projects have emerged and have revealed cases of corruption and wrongdoing. What have been the social and political implications of these practices? Are we witnessing a democratisation of leaking? Are traditional media undermined or strengthened? This presentation will address the phenomenon of leak platforms in the context of media change, the growing role of data, and the emergence of networked publics.

Arne Hintz is a Lecturer at the Cardiff School of Journalism, Media and Cultural Studies ( JOMEC ) and directs the School's Research Group Digital Media and Society. His research connects communication policy, media activism, citizen media, and technological change. His publications include the co-edited volume "Beyond WikiLeaks: Implications for the Future of Communications, Journalism and Society", and his current research includes the collaborative project "Digital Citizenship and Surveillance Society". He is Chair of the Community Communication Section of the International Association for Media and Communication Research ( IAMCR ). As a citizen media expert and communication rights advocate, he has been involved with advocacy organizations such as the Community Media Forum Europe ( CMFE ) and the Open Rights Group ( ORG ), and policy for such as the UN World Summit on the Information Society ( WSIS ).

26 DISCURSIVE PROGRAM – Leaking Social Change: WikiLeaks, Leak Activism and Media Transformation

Moje tvoje naše #10 – Mreža – 23.– 2 9. 4. 2015.

Political implications of networks

— Discussion 25 April, 20 h @ Filodrammatica

olitical implications of networks is an open discussion on political consequences of organizational and technological progress that shapes our everyday life. This year's Mine, Yours, Ours program offers a number of insights on the development of panoptic system of surveillance, as well as the vulnerability of the system itself. The focus is on politics, but who are the political actors who are behind this surveillance remains ambiguous. The logic of the network focuses more on the questions of how, rather than why, who and for whom. Nevertheless, these are key questions from the standpoint of political community. Ineffable advances in communication, deterritorialisation of our activities and global flows of money and goods and to a lesser extent people, set forth the question of political order. While the public sphere is created in virtual space, we still remain participants of political communities that are based on territory. Can the network bring about changes?

27 DISCURSIVE PROGRAM – Political implications of networks

Trans足 ponder Party

Moje tvoje naše #10 – Mreža – 23.– 2 9. 4. 2015.

Live performance

Notein – a humble progressive explorer of electronic music from Rijeka who has been composing for almost ten years and has published quite a number of tracks on several different albums for Transponder records. His work is on the trail of top performers on the electronic music scene such as Autechre and similar artists. He has performed live several times under the aegis of Transponder and is part of the Transponder Crew.

SITO I REŠETO – duo that was created in 2010 in Volosko, from their shared love of various genres of music and shared interests in synthesizers and drum machines. Although physically separated, they are finding ways to create music and experiment with sound, style, and different genres. All resulting in an eclectic mixture of styles of electronic music. For the first time this year they have the opportunity to perform live and present their past years' collaboration. https: / / soundcloud.com / sito-i-re-eto. https: // soundcloud.com / sito-i-re-eto

BLCNY – electro duo from Rijeka consisting of Nevio Rugaš and Bernard Blašković. Two friends who collaborated in the electro pop band Senzorz. Nevio – former drummer in Quasarr and one of the founders of Rijeka's techno / electro / IDM label Transponder records – and Bernard – DJ, composer, arranger, producer and guitarist in various Rijeka pop / punk / rock bands – brought together their synthesizers and drum machines, and started performing electronic music live. Made in Rijeka.

AREXX – long-time DJ, producer and sound alchemist, with a lot of musical experience in the world of electronic music, multimedia and more. From the very beginning he participate in the work of the Transponder Label. https: / / soundcloud.com / arexx-music http: / / arexx.bandcamp.com

29 TRANSPONDER PARTY – Live performance

MINE YOURS OURS #10 – NETWORK – 23.– 2 5. APRIL 2015

Transponder

DJ Samo Tako ( Detroit, Electro, Acid ) – “He has been engaged in music production for year or two, he plays various percussions and likes to fiddle with hardware. Some of his work is already out in digital form on one of Rijeka's labels. The music he prefers depends on the situation and mood, and his taste ranges from reggae, dub, dub techno to electro and Detroit techno. In his spare time he turns tables, and does it very well! He is quite modest, so check his work out on his soundcloud profile.”

Transponder records ( from 2006. > ) is a music label for promotion of electronic music, fusions and research originating in contemporary electronic music. We know and cherish the history of electronic music, musical variations and trends, and we promote music that has its place in space and time. The goal of Transponder Records is to give musicians and producers of electronic music ( not only Rijeka based ) a place – through a shared music profile - for presentation of their work, allowing them to keep their own sound and music recognisability. We want to create a nucleus of quality local electronic music that can present Rijeka as an essential point on the music scene.

https: // soundcloud.com / samotako

http: // transponder-records.bandcamp.com https: // soundcloud.com / transponderrec

30 TRANSPONDER PARTY – DJ – TRANSPONDER

Production Drugo more Partners Aksioma – Zavod za sodobne umetnosti, Ljubljana, MMSU Rijeka, Peek&Poke Concept Davor Mišković Exhibition curator Tatiana Bazzichelli Discussion moderator Željko Blaće Production Petra Corva, Ivana Katić, Dubravko Matanić Public relations Petra Corva Visual identity Oleg Šuran Publisher Drugo more Editor Ivana Katić Texts Tatiana Bazzichelli, Davor Mišković Translation Jele Dominis, Dubravko Matanić Print Tiskara Zelina Print run 300 primjeraka

pecial thanks for the suggestions, help and hard work to all volunteers, Des Freedman, Janez Janša, Jurij Krpan, Marcell Mars, Tomislav Medak and Svetozar Nilović. Sponsored by: European Commission program Creative Europe, National Foundation for Civil Society Development, Kultura nova Foundation, Ministry of culture of the Republic of, Primorsko-goranska County, City of Rijeka – Department for culture Program is realized as part of Masters & Servers, a joint project by Aksioma ( SI ), Drugo more ( HR ), AND ( UK ), Link Art Centre ( IT ) i d-i-n / The Influencers ( ES ). Association of organisations Molekula manages Palach, Filodrammatica and Marganovo. This publication is made possible by financial support of the National Foundation for Civil Society Development. The contents of this publication are the sole responsibility of the author and do not necessarily express the position of the National Foundation. This publication is printed with the financial support of the „Kultura nova“ Foundation. Opinions expressed herein reflect solely those of the authors and do not necessarily represent the opinions of the „Kultura nova“ Foundation. This project has been funded with support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

MOJE TVOJE NAŠE #10 Mreža 23.– 25. 04. 2015.

eseto izdanje manifestacije Moje, tvoje, je ljude teško u potpunosti zastrašiti neljudskim naše za temu ima mrežu. Mreža je izraz bićima i sistemima, tako da se rađaju novi pokreti za strukturu koja se sastoji od čvorišta i bridova koji otpor provode kroz samu mrežu i stvaraju ( linija, veza ) i predstavlja ključni oblik organizacije nova bojna polja političke borbe. Iako se radi o suvremenog života. Naše poimanje svijeta uvijek asimetričnom konfliktu, poput gerilskog ratovase odvija kroz određene metafore, u 20-stoljeću nja, gdje na jednoj strani stoje zviždači, hakeri, prevladavale su metafore mehaničkog i organ- aktivisti, a s druge moćna armija korporacija i skog, a danas je dominantna metafora mreže. vlada, sukob još nije gotov, optimizam podčiMetafora koju koristimo ovisna je o općem po- njenih se i dalje hrani. gledu na svijet, a čini se da danas svijet prvenNaš ovogodišnji program donosi fragmenstveno doživljavamo kao informaciju, kao protok te koji će obogatiti metaforu kroz koju spoznajeinformacija. Ovu promjenu metafore pratio je mo svijet, elemente od čijih niti možemo satkati optimizam moguće promjene same društvene nova čvorišta spoznaje i djelovanja, koja će vas stvarnosti, odmak od hijerarhija i stvaranje ega- informirati, inspirirati i omogućiti djelovanje. litarnijeg društva. Međutim, izgleda da nema ničega oslobađajućeg u zamjeni starih metafo- —— Davor Mišković ra mrežom, društvenu stvarnost oblikuje nova struktura s vlastitim oblikom kontrole. Pokazalo se da decentralizacija ili ideologija roja ne predstavljaju vrijednost po sebi nego mehanizam koji je podjednako pogodan ratovanju, marketingu, terorizmu, aktivizmu, podčinjavanju i prisili. Društva nisu egalitarnija nego raslojena poput svjetova teoloških vizija s bogovima i ljudima, vladarima i podanicima. No, ono što je karakteristično za mrežu je činjenica da ne možemo uprijeti prstom u neki centar moći, moć se čini anonimna i nehumana. Mreža nam je vratila sustav koji se čini izvan dosega ljudskih moći poimanja i utjecaja, koji paralizira ljudsko nastojanje za društvenom promjenom. Pa ipak, čini se da

Četvrtak, 23. 04.

18.00 Tatiana Bazzichelli Umreženi poremećaji prezentacija ① str. 23 20.00 Umreženi poremećaji otvaranje izložbe ① str. 5 21.00 Transponder Transponder Party party ② str. 28

Petak, 24. 04.

18.00 Richard Barbrook Kalifornijska ideologija predavanje ③ str. 24 – dvadeset godina poslije 20.00 Stephen Wright Interruptive Usership predavanje ③ str. 25

Subota, 25. 04.

18.00 Arne Hintz Wikileaks, leaks aktivizam predavanje ③ str. 26 i transformacija medija 20.00 Političke implikacije mreže okrugli stol ③ str. 27

① Muzej moderne i suvremene umjetnosti, Dolac 1, Rijeka ② OKC Palach, Kružna 8, Rijeka ③ Filodrammatica, Korzo ²⁸ ⁄ ₁, Rijeka

IZ L OŽ BA

Umreženi poremećaji Preispitivanje otpora u umjetnosti, haktivizmu i poslovnom svijetu

1. OCTO P7C-ES str. 8 2. Neoism  str. 9 3. Anonymous  str. 10 4. Mail Art str. 11 5. Suicide Club / str. 12 Cacophony Society / Burning Man / Billboard Liberation Front 6. Luther Blissett  str. 13 7. Anna Adamolo  str. 14 8. Disruptive Feedback str. 15 Loop Diagram 9. Les Liens Invisibles str. 16 10. Janez Janša , Janez Janša, str. 17 Janez Janša 11. Peng! Collective str. 18 12. Laura Poitras str. 19 13. Trevor Paglen str. 20 14. Julian Oliver str. 21

Kustosica: Tatiana Bazzichelli; Otvorenje izložbe: 23. 04. 2015. u 20 h; Izložba je otvorena do: 14. 05. 2015.; Muzej moderne i suvremene umjetnosti, Rijeka; Dizajn izložbe: Janez Janša, Slaven Tolj; Izvršni producenti: Petra Corva i Dubravko Matanić; Tehnika: MMSU Rijeka; Dokumentacija: Magdalena Rikanović; Produkcija: Drugo more, Aksioma – Institute for Contemporary Art 2015; Koprodukcija: Muzej moderne i suvremene umjetnosti Rijeka, Abandon Normal Devices, Galerija Kapelica, Peek&Poke, Moderna galerija Ljubljana; Partneri: d-i-n-a / The Influencers, Link Art Center.

Što su Umreženi poremećaji?

zložba povezuje radove i kolektive koji pri- mo posjetitelje na stvaranje vlastitih putova u mjenjuju strategiju “poremećaja” kao načina nizu poremećaja. poticanja kritike. Poremećaj je umrežen. Uživajte prije nego U poslovnom svijetu poremećaj ozna- što se iskvari. čava tržišno predstavljanje inovacije koju tržište uopće ne očekuje, iako se pojavljuje unutar —— Tatiana Bazzichelli njega samog. Preveden na jezik umjetnosti i aktivizma, poremećaj predstavlja uzrokovanje neočekivanih praksi i intervencija, te igru unutar sustava nadzora. Umjetnost, haktivizam i biznis često se isprepliću, potičući povratnu petlju revolucija i kooptacija koja je funkcionalna za razvoj kapitalizma. Kapitalizmu trebaju naše revolucije jer one generiraju nove životne stilove, proizvode i prakse koje stvaraju nova tržišta i prohtjeve potrošača. Slično tome, sustavima moći potrebni su naš otpor i opozicija jer služe daljnjem razvijanju mehanizama sigurnosti i oblika kontrole. Trebali bismo pronaći nove strategije koje nadilaze sam čin opozicije i koje je pritom teže prisvojiti. Na ovoj izložbi usvajamo koncept poremećaja iz domene biznisa i predlažemo radove koji iskrsavaju iz unutrašnjosti političkih, ekonomskih, tehnoloških i umjetničkih sustava. Igrajući se s njihovom logikom moći, oni uzrokuju viralnost, anonimnost, semantičku pomutnju, višestruke istine i poremećaje. Unutar i između skupina kombiniraju se različita gledišta. Očuvanjem otvorenosti takvih veza, bez dostizanja kustoske sinteze, poziva-

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

OCTO P7C-ES

Instalacija, razni materijali ( 2013–2015 )

sklopu Umreženih poremećaja, Telekommunisten će potencijalnim investitorima i partnerima predstaviti posve novi proizvod OCTO-a, lidera na području sustava pneumatskih komunikacijskih paketa. Ono što OCTO razvija za globalne korisnike sada je dostupno vašoj tvrtki ili instituciji. OCTO-ov novi Enterprise Security ( ES ) sustav najefektivniji je način održavanja sigurnosti i efikasnosti lokalne mreže vaše tvrtke. OCTO P7CES sadrži revolucionarnu CAPS-LOCK® tehnologiju, u potpunosti integrirani sustav koji dopušta cjelovito praćenje i kontrolu sadržaja kapsule ( capsule contents control – 3CT ) prilikom svakog prijenosa, osiguravajući da samo autorizirani korisnici imaju mogućnost korištenja vašeg OCTO P7C-ES. CAPS-LOCK® također omogućava jedinstvene uvide i kontrolu ponašanja vaših zaposlenika, dopuštajući vam upravljanje poslovima i raspoređivanje zadataka bolje nego ikad prije. Zajedno s CAPS-LOCK®, OCTO P7C-ES je cjelovito poduzetničko rješenje za fizičku sigurnost i po-

Telekommunisten je berlinski kolektiv koji se bavi proučavanjem političke ekonomije komunikacijskih tehnologija. Središnje teme uključuju neusklađenost kapitalizma sa slobodnim mrežama i slobodnom kulturom, te povećavajuću centralizaciju i ograđivanje koje iz toga proizlazi, kao i potencijal raspršenih proizvođača koji koriste zajedničku zalihu produktivne imovine kako bi omogućili ekonomsku bazu za slobodno društvo.

uzdanost vaših fizičkih paketa.

8 DISKURZIVNI PROGRAM – OCTO P7C-ES

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Neoism

Instalacija ( fotografije, video i zvučni materijali ) neoističkog arhiva Montyja Cantsina; posjetitelji mogu slobodno koristiti štogod žele i stvarati vlastitu izložbu.

rema riječima Montyja Cantsina koji ga je osmislio, Neoizam je naziv za međunarodni pokret višestrukog porijekla. Ime je fiksno; njegovo korištenje nije. Svrha mnogobrojnih korištenja istog imena je eksperimentiranje sa situacijom za koju nitko nije izravno odgovoran. Neoizam je prvotno nastao kao ideja bez jasne definicije, prazan koncept, kojeg je tek trebalo prisvojiti: tijekom 1980-ih razvio se u međunarodnu subkulturnu mrežu ljudi koji su kolektivno koristili identitet Montyja Cantsina. Mreža se iz Sjeverne Amerike proširila u Europu ( između ostalog u Ujedinjeno Kraljevstvo, Njemačku, Italiju, Nizozemsku, Jugoslaviju i Mađarsku ), a kasnije i u Australiju i azijske zemlje. Prve javne neoističke manifestacije odvijale su se u obliku festivala u stanovima te kaotičnih intervencija u umjetničkim prostorima i drugim otvorenim mjestima, koje je u to vrijeme organizirala mlada skupina eksperimentatora i subkulturnih aktivista. Djelatnosti su uključivale zapaljivanje parnih glačala, nošenje mrtvih riba kao šešira, besplatna šišanja, telepat-

Monty Cantsin je ime koje je odabrao / osmislio Monty Cantsin u svrhu referiranja na međunarodnu zvijezdu koja može biti bilo tko. Ime je fiksno; ljudi koji ga koriste nisu. Ono što je inače egoistička uloga ( zvijezda ) postaje apstrakcijom putem njezinog odvajanja od određene osobe. Kada netko smatra / osjeća da mu / joj zvjezdani kontekst / prednost može biti koristan, može na sebe «navući» identitet Montyja Cantsina.

sku komunikacuju pomoću vješalica, izrađivanje zajedničkog anonimnog fanzina SMILE, te širenje paradoksa, podvala, plagijata i krivotvorina.

9 Umreženi poremećaji – Neoism

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

3 Anonymous

Različiti mediji ( fotografije, video, slike, publikacije ) prikupljeni u suradnji s Gabriellom Coleman ( odjel Znanstvene i tehnološke pismenosti na Sveučilištu McGill, Montreal ), autoricom knjige Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous. London: Verso Books, 2014.

nonymousi su u neprestanoj mijeni i pokretu. Informacije o Anonymousima su proturječne, ne samo iz razloga što su ti aktivisti vješti u izazivanju podvala, šala, pa čak i prevara, već i zato što svaki pripadnik može nezavisno djelovati. Štoviše, Anonymousi ne dijele neki univerzalni politički mandat ili ideologiju, osim labave obveze prema idealu prikrivenosti koji se nazire u samome imenu. S obzirom na tu dinamiku netransparentnosti, obmana i igre, sociološka pitanja o pripadnicima manje su zanimljiva od pitanja mašte i djelokruga različitih taktika koje oni razvijaju. Zaista, jezgra samog projekta je dvostrani pristup Anonymousa prema širenju podvala radi izazivanja lulz-a ( derivacija lol-a – “laugh out loud” ), koje nadilazi moralni konformizam i političku korektnost, te prema borbi za slobodu i socijalna prava, i sukobljavanju s korporacijama, opresijom i korupcijom. Drugim riječima, oni objedinjuju zabavnost trolanja s političkim aktivizmom. Ovdje predstavljamo video-snimke i slike ranih iskustava trolanja od razdoblja 2007. i

Anonymous je svatko i nitko ( Anonymous, 2007 ). Anonymous je u određenoj mjeri zamaskiran promišljenom tajnovitošću, podrazumjevajući odsustvo vođa, hijerarhijske strukture i geografskog epicentra. Iako postoje forme organizacije i kulturne logike koje neupitno oblikuju njegove višestruke izraze, svaki pojedinac ili skupina može prisvojiti ime Anonymous ( Coleman, 2011 ).

2008. godine, do nedavnih političkih prosvjeda u Španjolskoj i Fergusonu koji su imali veliki utjecaj na javno mnijenje i civilno društvo.

10 Umreženi poremećaji – Anonymous

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Mail Art

Različiti mediji ( instalacije, fotografije, otisci, marke, razglednice, publikacije, rukotvoreni poštanski predmeti ) koje je prikupio umjetnik Vittore Baroni u suradnji s međunarodnim krugom poštanskih umjetnika.

eđunarodni krug poštanske umjetnosti, koji je od sredine 1960-ih godina privukao na tisuće sudionika na globalnoj razini, oduvijek je bio grassroots alternativa “službenom sustavu umjetnosti”, na mnoge načine “poremećujući” tradicionalne umjetničke prakse i etablirana pravila tržišta umjetnina. Predmeti poštanske umjetnosti ( razglednice, kuverte, umjetničke marke, itd. ) stvaraju se kao pokloni koji se razmjenjuju među autorima te općenito nisu na prodaju. Poštanska umjetnost je otvorena prema svima. Ne postoje razlike između amatera, početnika i profesionalnih umjetnika, nema selekcije radova, sudačkog žirija, plaćanja kotizacije, ni odbijanja – sve se izlaže. U zajednici poštanske umjetnosti proces je važniji od fizičkog proizvoda. Krugovi poštanske umjetnosti bili su plodno tlo za stvaranje poremećujućih sub-mreža kao što su Neoizam i Luther Blissett Project. Selekcija radova poštanske umjetnosti iz arhiva E. O. N. ( Viareggio, Italija ) s više ili manje eksplicitnim narušavalačkim karakterom predstavljena je u formi fotokopija u boji poslaganih u neprekinuti kolaž s nizom primjerenih

Vittore Baroni je talijanski umjetnik, glazbeni kritičar i proučavatelj kontrakultura. 1977. godine otkrio je poštansku umjetnost, postao teško ovisan o njoj i sudjelovao u brojnim međunarodnim projektima i izložbama. Izdao je sto brojeva časopisa ARTE POSTALE! ( 1979-2009 ) i razne knjige o radikalnoj glazbi i umjetnosti, među kojima je i vodič o poštanskoj umjetnosti, Arte Postale ( AAA izdanja, 1997. ). Aktivan je na području vizualne poezije, zvučne umjetnosti, ulične umjetnosti i stripa.

citata. Odjeljak poštanske umjetnosti također sadrži kolektivni interaktivni projekt, The Table Of the Little Iconoclast, 2000., s gumenim pečatima na petama cipela raznih autora koje posjetitelji mogu koristiti radi stvaranja vlastitih Iconoclast kompozicija. —— Vittore Baroni, ožujak 2015. Umreženi poremećaji – Mail Art

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Suicide Club / Cacophony Society / Burning Man / Billboard Liberation Front Raznličiti mediji ( fotografije, otisci, video, publikacije ) prikupljeni u suradnji s Johnom Lawom, Chuckom Cirinom, Olivierom Boninom i Dougom Wlllmanom.

rikazani radovi povezuju aktivnosti “Suici- “Suicide Club” San Francisca ( 1977–1983 ) bilo je tajde Cluba” i Društva kakofonista San Fran- no društvo nastalo kao izdanak studentske grupe cisca, ranog razdoblja festivala “Burning man” i “The San Francisco State Communiversity” ( 1969. ) “Bilboard Liberation Fronta”. Povezane idejom unutar pokreta “Free University” s kraja 1960-ih i proživljavanja svakodnevice kao umjetničke for- 1970-ih. Moto “Suicide Cluba” bio je proživljavati me, ove skupine vuku korijene iz eksperimental- svaki dan kao da je posljednji, s ciljem stvaranja ranih umjetničkih praksi, promičući i organizirajući dikalnih kontekstualnih situacija za javno društvekolektivne podvale, intervencije, igre i grupne no eksperimentiranje, neobični ulični teatar, intenperformanse. Naširoko poznati “Burning man”, zivnu interpersonalnu analizu i urbano istraživanje. open-air festival koji se od 1990-ih svake godine Izraslo na ostacima “Suicide Cluba”, “Drušodržava u pustinji Black Rock ( Sjeverna Nevada ), tvo kakofonista” ( The Cacophony Society, osnovano 1986. godine ) sačinjavala je neformalzapočeo je kao “event” Društva kakofonista i ne bi nikada bio moguć bez prethodnog postojanja na grupa pseudonimnih ljudi koji su istraživali “Suicide Cluba” iz San Francisca. granice konformističkog društva, povremeno ih slamajući ometanjem propagande, ruganjem uvaženim simbolima, gradnjom novih sloboda putem kaosa, zbrke i opasnih pothvata, a ponekad jednostavno uz pomoć potpunog ludila. “Billboard Liberation Front” nastao je 1977. godine u San Franciscu, prakticirajući ometanje kulture ( “culture jamming” ) mijenjanjem sadržaja oglasnih panoa, parodiranjem korporativnih poruka i izrugivanjem konzumerističkog društva.

Djelujući 33 godine, BLF je imao izravan utjecaj na radove Sheparda Faireya i Rona Englisha. John Law bio je jedan od izvornih članova “Suicide Cluba” i «Društva kakofonista”, suosnivač “Bilboard Liberation Fronta” te suosnivač i prvi operativni menadžer festivala “Burning man”. Umreženi poremećaji – Suicide Club / Cacophony Society / Burning Man / Billboard Liberation Front

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Luther Blissett

Različiti mediji ( posteri, fotografije, otisci, markice, flajeri, zvučne trake, publikacije ) iz arhiva Luther Blissett Projecta, prikupljeni u suradnji s Lutherom Blissettom.

uther Blissett Project bio je primijenjeni mit kolektivnog interesa. S ciljem remećenja kulturne industrije, Luther Blissett je tijekom 1990-ih godina mogao stvarati opću fantazmagoriju i od strane mnogih prihvaćenu filozofiju. Bio je «narodni junak», otvoreni identitet koji se mogao pridružiti svakome ili barem svima onima koji su željeli odbaciti svakodnevicu urbanog života i hijerarhijske mehanizme moći. Luther Blissett također je podrazumijevao duboku kritiku samog koncepta politike, kao i propitivanje autoriteta, sustava vođa i mehanizama političke reprezentacije. Čak i onda kada su mnogi Lutheri djelovali u pravcu remećenja kapitalizma, iz vlastitih su ironičnih razloga također pokušavali prisvojiti popularnu kulturu pretvaranjem svojih činova u dugotrajne kolektivne performanse. Između 1994. i 1999. godine – od kojih je potonja ujedno i godina Blissettovog Seppukua, simboličkog samoubojstva orkestriranog od strane pojedinih ranih urotnika uključenih u LBP – Luther Blissett postao je ikonom za mnoge sudionike

Luther Blissett je višenamjensko ime, kolektivni pseudonim, podijeljeni identitet usvajan od strane stotina umjetnika i aktivista od ljeta 1994. godine, šireći se iz Italije ostatkom Europe, u SAD i Južnu Ameriku. Iz još uvijek nepoznatih razloga, ime koje je posuđeno od britanskog nogometaša afro-karipskih korijena iz 1980-ih, postalo je izrazito popularnim fenomenom i uspjelo se prometnuti u status narodnog heroja.

međunarodne underground scene. Ova instalacija sadrži raznoliku građu koju je Luther Blissett dijelio i distribuirao putem mreže “Bulletin Board Systems” i poštanske umjetnosti, te unutar underground krugova samoorganiziranih događaja i “otvorenih situacija” tijekom 1990-ih.

Umreženi poremećaji – Luther Blissett

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

7 Anna Adamolo

Multimedijalna instalacija, mreža Anna Adamolo. Grafički dizajn: Parcodiyellowstone.it.

nna Adamolo bio je fikcionalni identitet kojeg je izgradila mreža Talijana različitih društvenih pozadina i sposobnosti, s namjerom ukazivanja na političku metodologiju koja se primjenjuje za vrijeme sukoba. Anna Adamolo uspjela je postati samostalnom zastupnicom i talijanskom ministricom obrazovanja, sveučilišta i istraživanja tijekom studentskih i profesorskih borbi kojima je 2008. i 2009. godine upravljao narodni pokret ”Onda Anomala” ( “Anomalni val“ ). Anomalni val uključivao je mnoge pojedince i grupacije koji su odbijali svrstavanje u jedan pokret pod istom zastavom no čiji je zajednički cilj bio suprotstavljanje i svrgavanje nacrta zakona o obrazovnoj reformi Mariastelle Gelmini, talijanske ministrice obrazovanja, sveučilišta i istraživanja. Od kraja 2008. godine Anna Adamolo služila je kao kolektivno ime tog nezastupljivog pokreta, koje je na ulicama i trgovima mogao prisvojiti tko god je želio. Korištenje Facebooka kao strateškog medija komunikacije i umrežavanja pokazalo se presudnim, dokazujući kako se društvenim

Anna Adamolo je akronim za “Onda Anomala” ( Anonimni val ), ime talijanskog pokreta studenata, profesora i znanstvenika koji su prosvjedovali protiv rezova na području obrazovanja, sveučilišta i znanosti tijekom 2008. i 2009. godine.

medijima može manipulirati na nepredvidljive načine. Ova instalacija prikazuje vremenski slijed iskustva Anne Adamolo, integrirajući online i offline prakse te alate korištene u svrhu prisvajanja i širenja fikcionalnog identiteta Anne Adamolo tijekom svih mjeseci trajanja prosvjeda.

Umreženi poremećaji – Anna Adamolo

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Disruptive Feedback Loop Diagram

Tatiana Bazzichelli, Disruptive Loop Diagram, 2011. Grafički dizajn: Jonas Frankki.

sprepletena povratna petlja umjetnosti, poslovnog poduzetništva i strategija remećenja.

15 Umreženi poremećaji – Disruptive Feedback Loop Diagram

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

9 Les Liens Invisibles

Seppukoo, 2009., instalacija Grafički dizajn: Parcodiyellowstone.it.

rilagođavajući ideju seppukua ( japanskog rituala samoubojstva ”razrezivanjem trbuha“ ) kontekstu Facebooka, Les Liens Invisibles pozivali su korisnike na deaktiviranje Facebook računa. Inspirirani načinom na koji je Luther Blissett izveo seppuku 1999. godine, Seppukoo kao virtualno samoubojstvo simboliziralo je kolektivno odvajanje od mehanizma predodređenog za stvaranje profita na povezivanju ljudi. Korisnike se pozivalo na pokretanje viralnog procesa samoubojstva kako bi povećali svoj bodovni rezultat u Seppukoo sustavu rangiranja, kao i na poticanje svojih prijatelja na činjenje istog. Servis virtualnog samoubojstva djelovao je putem specifičnog koda koji je proizašao iz narušavanja Facebookovog sustava “Deaktiviranja”. 2009. godine korisnici nisu mogli svojevoljno izbrisati svoje profile, dok je kompanija čuvala sve korisničke podatke. Proces virtualnog samoubojstva započinjao bi korisnikovom prijavom na Seppukoo servis, na sličan način kao i na Facebook. Putem open

je video snimke spomenute operacije koja se u početku koristila važnim svjedočanstvima u svrhu širenja informacija, pri čemu se na ekranu također prikazuju zapisi korisnika koji su počinili viralno samoubojstvo. Les Liens Invisibles je talijanski umjetnički dvojac čiji rad uključuje eklektično rekombiniranje popularne internetske kulture, izvrtanje inženjerskih tehnika, parodiranje oglašavanja na društvenim mrežama i ponovno prisvajanje medija. Od 2007. godine Les Liens Invisibles započeli su svoju infiltraciju globalnih komunikacijskih mreža u svrhu pridruživanja i proširivanja nevidljivih veza između umjetnosti i stvarnog života.

source softvera ( Open Inviter ) i programske knjižnice PHP, Seppukoo bi izgradio simulirani proces korisničke navigacije kojim bi se spojio na Facebook, pri čemu je korisnik mogao pristupiti početnoj stranici, prijaviti se s vlastitim korisničkim imenom i lozinkom, te nastaviti s deaktiviranjem stranice. Ova instalacija uključuUmreženi poremećaji – Les Liens Invisibles

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Janez Janša, Janez Janša, Janez Janša

Troika, 2013, instalacija.

ad su se 2007. godine trojica umjetnika učlanili u konzervativnu Slovensku demokratsku stranku ( SDS ), pozdravno pismo koje su primili od predsjednika stranke Janeza Janše završavalo je sloganom “Što nas je više, brže ćemo stići do cilja!”. Nedugo nakon toga, sva su trojica umjetnika službeno promijenila svoja imena u Janez Janša, čime su htjeli preispitati relaciju između imena i identiteta u širem društvenom, političkom i kulturnom kontekstu. Umjetnici izlažu svoje službene dokumente: tri članske iskaznice SDS-a, tri osobne iskaznice i tri kreditne kartice Mastercard s reprodukcijom njihove ranije akcije Triglav na Triglavu ( najviša slovenska planina i istaknuti simbol slovenske nacije, čiji stilizirani prikaz čini središnji element slovenskog grba, zbog čega se nalazi i na slovenskoj zastavi ). Pored izloženih dokumenata prikazuje se i video snimka početne faze operacije promjene imena.

Janez Janša ( SI ) je konceptualni umjetnik, performer i producent koji živi u Ljubljani ( Slovenija ). Autor je brojnih video uradaka, performansa, instalacija i novomedijskih radova koje je predstavio na nekoliko izložbi, festivala i predavanja diljem svijeta. Redatelj je filma Jaz sem Janez Janša ( Ja sam Janez Janša ), suosnivač i direktor Aksioma-e – Instituta za suvremenu umjetnost Ljubljana, i umjetnički upravitelj galerije Aksioma | Project Space. Janez Janša ( SI ) je umjetnik, pisac, performer i kreator interdisciplinarnih performansa te konceptualnih i vizualnih djela. Njegov rad sadrži snažnu kritičku i političku dimenziju i usredotočuje se na odnose između umjetnosti te društvenog i političkog konteksta. Autor je knjige JAN FABRE – La Discipline du chaos, le chaos de la discipline ( Armand Colin, Paris, 1994 ), te je između 1999. i 2006. godine bio glavnim urednikom časopisa MASKA, Performing Arts Journal. Upravitelj je neprofitnog zavoda za izdavaštvo, produkciju i obrazovanje Maska, sa sjedištem u Ljubljani. Janez Janša ( SI ) je vizualni umjetnik čiji se rad nalazi na razmeđi tradicionalne vizualne umjetnosti, konceptualne umjetnosti i novih medija. 2003. godine predstavljao je Sloveniju na pedesetom Venecijanskom bijenalu. Svoje je radove izlagao na bijenalima u Sao Paolu, Pragu, Limericku i brojnim drugim mjestima.

Umreženi poremećaji – Janez Janša, Janez Janša, Janez Janša

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

11 Peng! Collective

Otisak: Peng! Collective, Google Nest, 2014., www.pen.gg / googlenest. Video: Google Nest Product Launch #googlenest, na festivalu re:publica 2014, Berlin, 16:46 min.

svibnju 2014. godine, Peng! Collective stvorio je dvije persone, “Googleove zaposlenike” Gloriju Spindle i Paula von Ribbericka, i poslao ih na berlinski festival re:publica, konferenciju o tehnologiji i inovacijama s preko 5.000 sudionika. S obzirom na nedavno Googleovo preuzimanje Nest Labs-a i rastuće javno zanimanje za Googleove daljnje postupke u vezi te tvrtke, Gloria i Paul imali su idealnu priliku za predstavljanje Google Nest-a, programskog paketa namijenjenog vraćanju povjerenja korisnika u sigurnost interneta nakon svih potresnih otkrića o pitanjima nadzora. Proizvodi kao što su Google Trust ( osiguranje protiv nadzora i krađe podataka ), Google Bee ( osobni dronovi ) i Google Bye ( online profil namjenjen korištenju u posmrtnom životu ), navodno su kreirani od strane Googlea nakon procjene korisničkih potreba temeljene na analizi njihovih e-mailova i pretraživanja. Ova instalacija prikazuje video lansiranja proizvoda na tržište.

Peng! je kolektiv koji se bavi produciranjem kreativnih političkih smicalica i kampanja pomoću subverzije, humora i građanskog neposluha. Njegovi su se članovi specijalizirali u taktikama direktne akcije, “culture jamminga” i građanskog neposluha, koristeći ih u svrhu opstruiranja politike i biznisa, te kako bi zanimanje medija usmjerili prema temama društvene pravde.

18 Umreženi poremećaji – Peng! Collective

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Laura Poitras

Video: Laura Poitras / Praxis Films, PRISM: Snowden Interview, 9. lipanj 2013., 12:34 min.

siječnju 2013. godine, Lauru Poitras kontaktirao je anonimni izvor tvrdeći da posjeduje dokaze o ilegalnim aktivnostima Nacionalne agencije za sigurnost ( NSA – National Security Agency ). Nakon nekoliko mjeseci anonimnih e-mailova, Poitras je otputovala u Hong Kong zajedno s novinarom Glennom Greenwaldom kako bi napravila intervju s izvorom, Edwardom Snowdenom. Njezino izvještavanje o NSA pridonijelo je tome da Pulitzerova nagrada za javnu službu bude dodjeljena The Guardianu i Washington Postu. Video prikazuje intervju s Edwardom Snowdenom objavljen 9. lipnja 2013. godine, kada se on javno predstavio Poitras i Greenwaldu, otkrivši im u Mira Hong Kong Hotelu informacije o PRISM Programme-u. Režija i montaža: Laura Poitras / Praxis Films.

Laura Poitras je redateljica, dobitnica Oscara za najbolji dokumentarni film, novinarka i umjetnica. Autorica je filmske trilogije o Americi nakon 11. rujna. Radnja posljednjeg filma, Citizenfour, govori o Edwardu Snowdenu i masovnom nadzoru od strane NSA. Zajedno s Glennom Greenwaldom i Jeremyjem Scahillom, suosnivačica je The Intercepta ( firstlook.org / theintercept ).

19 Umreženi poremećaji – Laura Poitras

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

13 Trevor Paglen

Film: Trevor Paglen, Circles, 2015., 12 min.

ircles je film o britanskim tajnim službama i zaštitarskoj organizaciji GCHQ.

Trevor Paglen svojim radom zamagljuje granice između znanosti, suvremene umjetnosti i novinarstva radi konstruiranja nepoznatih, ali ipak pomno istraživanih načina sagledavanja i interpretiranja našeg okolnog svijeta. Autor je pet knjiga i brojnih članaka koji se bave temama eksperimentalne geografije, državne sigurnosti, vojnog simbolizma i fotografije. Svoj je rad izlagao u Metropolitan Museum of Art ( New York ), Tate Modern ( London ), Walker Arts Center ( Minneapolis ), Museum of Modern Art ( San Francisco ), te na brojnim drugim samostalnim i grupnim izložbama. Ima doktorat iz geografije na Sveučilištu Berkeley.

20 Umreženi poremećaji – Trevor Paglen

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Julian Oliver

Julian Oliver, The Snowden Templates, 2015.

nstalacija ugošćuje LibreOffice prezentaciju o postojećim izvješćima o Edwardu Snowdenu, NSA i GCHQ. Korištena kao podloga za razvoj i igru, služi kao pomoćno sredstvo komentiranja neobičnih pomutnji nastalih širenjem PDF dokumenata iz jednog jedinog izvora, uzrokujući skrivene promjene kulturne i političke realnosti. Snowdenove dosjee možete koristiti u svrhu ometanja novinara u njihovom poslu, provjeravanja njihove budnosti i odanosti, ili samo kako bi dodatno nahranili vašu neumoljivu paranoju da su podaci koji su procurili o NSA i GCHQ zapravo dio sveobuhvatne i zle igre o alternativnoj realnosti koju je dizajnirao Glenn Greenwald. Uostalom, kako naglašava Julian Oliver, što mi uopće znamo?

Julian Oliver je Novozelanđanin, kritički inženjer i umjetnik sa sjedištem u Berlinu. U svojem se radu fokusira na softversku umjetnost, forenziku podataka, kreativno hakiranje, računalno umrežavanje, kontra-obavještavanje, objektno-orijentirano programiranje za umjetnike, proširenu stvarnost, virtualnu arhitekturu, razvoj video igara i vizualiziranje informacija. Zagovornik je besplatnog i Open Source softvera, a njegov je rad između ostalog predstavljan u Tate Modern, na Chaos Computer Congress, Ars Electronica i FILE ( japanski festival medijske umjetnosti ). S Daniilom Vasilievim, Julian je 2011. godine primio istaknutu nagradu Golden Nica na Prix Ars Electronica 2011.

21 Umreženi poremećaji – Julian Oliver

Diskurzivni program

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Umreženi poremećaji: preispitivanje otpora u umjetnosti, haktivizmu i poslovnom svijetu Uvod u izložbu u MMSU-u Prezentacija kustosice Tatiane Bazzichelli 23.04. u 18 h @ Filodrammatica

rezentacija kreće od pretpostavke da su umrežene grassroots zajednice hakera i umjetnika, od trenutka nastanka digitalne kulture i cyber-utopija, u jednu ruku služile kapitalizmu kao sredstvo njegovog ubrzavanja, a s druge su strane doprinijele osnaživanju antagonizama prema njemu, generirajući kritičke umjetničke prakse i haktivističke intervencije temeljene na tehnologijama i metodologijama dijeljenja i umrežavanja. Takvo međusobno remećenje i postojeći otpori između umjetnosti, poslovnog svijeta i mreže pokazuju kako su hakeri i umjetnici aktivni nositelji poslovnih inovacija, istovremeno bivajući njihovim podrivačima. Analiza poremećaja kao kritičkog okvira, te disruptivnog biznisa kao umjetničke strategije, u ovoj prezentaciji postaje sredstvo predstavljanja imanentnih praksi hakera, umjetnika, mrežnih djelatnika i poduzet-

haktivističkih strategija – te preispitivanje praksi otpora u kontekstu umrežene kulture. Tatiana Bazzichelli je kustosica i istraživačica, autorica knjiga Networked Disruption ( 2013 ) i Networking ( 2008 ), te jedna od urednica knjige Disrupting Business ( 2013 ). Voditeljica je Disruption Network Laba, eksperimentalnog kustoskog projekta o umjetnosti, haktivizmu i remećenju, sa sjedištem u Berlinu. Bila je postdoktorska istraživačica Centra za digitalne kulture na Sveučilištu Leuphana u Lüneburgu, a od 2011. do 2014. godine programska kustosica festivala transmediale, inicirajući cjelogodišnji projekt reSource transmedial culture. http: // www.networkingart.eu http: // www.disruptionlab.org

nika. Koncept biznisa propituje se pomoću njegove etimologije, kao i s etičke točke gledišta. Cilj pritom nije stvaranje povijesne ili filozofske analize društvenih i umjetničkih praksi, već promišljanje različitih kritičkih modela, rasvjetljivanje proturječja i dvosmislenosti – kako unutar kapitalističke logike, tako i unutar umjetničkih i DISKURZIVNI PROGRAM – Umreženi poremećaji: preispitivanje otpora u umjetnosti, haktivizmu i poslovnom svijetu

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Kalifornijska ideologija – dvadeset godina poslije

— Richard Barbrook 24.04. u 18 h @ Filodrammatica

ichard Barbrook i Andy Cameron su 1995. godine objavili esej “The Californian Ideology” koji se danas smatra pionirskom kritikom dotcom kapitalizma. Dva desetljeća kasnije, Richard će se osvrnuti na povijesni trenutak kojim je članak bio inspiriran i obrazložiti zašto je važnost u njemu iznesenih argumenata još veća u umreženom društvu 21. stoljeća. Danas profesor na Fakultetu društvenih, humanističkih i jezičnih znanosti Sveučilišta u Westminsteru, Richard Barbrook se ranih 1980-ih bavio piratskim radio emitiranjem i opsežnim objavljivanjem članaka o pitanjima radijskog medija. Velik broj njegovih tekstova o medijskoj regulaciji objavljen je 1995. godine u knjizi Media Freedom, a iste je godine s Andyjem Cameronom napisao “The Californian Ideology”, pionirsku kritiku neoliberalne politike američkog časopisa Wired, posvećenog raspravama o utjecajima tehnologije na kulturu, ekonomiju i politiku. Njegovi utjecajni tekstovi o internetu uključuju članke “The Hi-Tech Gift Economy”, “Cyber-communism”, “The Regulation

Barbrook je jedan od suosnivača situacionističke ludičko-znanstvene grupe Class Wargames, koja se od 2007. godine bavi ponovnim izdavanjem knjige Guya Deborda Igra rata ( Le Jeu de la Guerre, 1987. ) s pripadajućom istoimenom društvenom igrom. Također je koscenarist filma Class Wargames Presents Guy Debord’s The Game of War, redateljice Ilze Black.

of Liberty” i “The Class of the New”, dok njegova knjiga Imaginary Futures iz 2007. godine problematizira političke i ideološke uloge proročanstava o umjetnoj inteligenciji i društvu informacija. DISKURZIVNI PROGRAM – Kalifornijska ideologija – dvadeset godina poslije

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Interruptive Usership

— Stephen Wright 24.04. u 20 h @ Filodrammatica

suvremenom je društvu kategorija korisništva ( usership ) došla do izražaja u posljednjih deset ili petnaest godina, ponajviše u domeni online 2.0 kulture. Njezina se pojava također veže uz studije invaliditeta i njihovo propitivanje ekspertne kulture, a donekle i uz sve veću rasprostranjenost imersivnih umjetničkih praksi koje izbjegavaju model gledateljstva u korist snažnijih modela angažiranja i povezivanja. No, kakve su politike korisništva? Što su klopke i potencijali ovih drevnih ali tek odnedavno prenamijenjenih formi praktične subjektivnosti? Za početak, korisništvo je ne-revolucionarno ( inherentno ne-mesijansko, nema vremena za gubljenje ), te strukturno bez poštovanja; njegove profane politike srodne su jednoj vrsti radikalnog pragmatizma, jer iako je uvijek disruptivno, korisništvo nikada ne traga za pukotinama ( eng. rupture ), već radije za prekidima ( eng. interruption ). Dok korisnici – mi, kao korisnici

Stephen Wright živi u Parizu, piše o umjetnosti i podučava praksu teorije na European School of Visual Arts. U pisanju se primarno fokusira na politike korisništva, pogotovo u kontekstu kolaborativnih izvandisciplinarnih praksi s promjenjivim koeficijentima umjetnosti. Njegovo se trenutno istraživanje prije svega bavi USOLOGICAL obratom koji je u tijeku, te trenutnim formama suvremene eskapologije, proučavajući uvjete vjerojatnosti i korištenja praksi koje su namjerno povučene s događajnog horizonta, što zahtjeva temeljno preispitivanje i prenamjenjivanje konceptualne arhitekture i vokabulara, naslijeđenih od modernosti. 2013. godine objavio je knjigu Toward a Lexicon of Usership.

riječi, alata, droga, programa – sve više spoznaju naše kolektivno ostvarene vrijednosti i značenja zarobljena u okviru tzv. “ozbiljnih igara”, INTERRUPTIVNO korisništvo može razotkriti dosad nezamislivi politički potencijal: prekidanje ( interruption ) kao kontinuitet u formi diskontinuiteta – dopuštanje infiltracije i novih oblika korištenja postojećeg toka. DISKURZIVNI PROGRAM – Interruptive Usership

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Wikileaks, leak aktivizam i transformacija medija

— Arne Hintz 25.04. u 18 h @ Filodrammatica

akon objavljivanja WikiLeaks dokume- Arne Hintz je predavač na Fakultetu novinarstva, nata 2010. godine i recentnijih Snowde- medija i kulturalnih studija u Cardiffu ( JOMEC ). U novih prokazivanja tajnih službi, uloga zviždača svojim se istraživanjima bavi komunikacijskim dospjela je u centar pažnje, dok su slični projekti politikama, medijskim aktivizmom, građanskim razotkrivanja slučajeva korupcije i nepravde u medijima i tehnološkim promjenama. Jedan je značajnom porastu. Koje su društvene i političke od urednika knjige Beyond WikiLeaks: Implicatiposljedice tih praksi? Svjedočimo li demokratiza- ons for the Future of Communications, Journaciji curenja podataka? Jesu li time tradicionalni lism and Society, a trenutno je uključen u projekt mediji postali jači ili slabiji? Ova će se prezentaci- “Digital Citizenship and Surveillance Society”. Kao ja baviti fenomenom leak platformi u kontekstu zagovaratelj komunikacijskih prava i stručnjak za medijskih promjena, rastuće uloge podataka i građanske medije – čiji sadržaj stvaraju građani pojave umrežene javnosti. koji inače nisu profesionalni novinari – uključen je u organizacije kao što su Community Media Forum Europe ( CMFE ) i Open Rights Group ( ORG ), kao i u političke forume poput UN-ovog Svjetskog summita o informacijskom društvu ( WSIS ).

26 DISKURZIVNI PROGRAM – Wikileaks, leak aktivizam i transformacija medija

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Političke implikacije mreže

— Okrugli stol 25.04. u 20 h @ Filodrammatica

krugli stol pod nazivom Političke implikacije mreže je otvoreni razgovor o političkim posljedicama organizacijskog i tehnološkog razvoja koji oblikuje našu svakodnevnicu. Cjelokupni program manifestacije Moje, tvoje, naše pruža niz uvida o tome kako se razvija panoptički sustav nadzora, ali istovremeno pruža i uvid u ranjivost tog sustava. Naravno, tu se radi o politici, no tko čini tu političku zajednicu u čije ime se provodi nadzor ostaje nedorečeno. Logika mreže usmjerava i naše razmišljanje tako da više bavimo pitanjima kako nego zašto, za koga i tko. Ipak, ova su pitanja ključna iz perspektive političke zajednice. Neopisivi napredak komunikacija, deteritorijalizacija našeg djelovanja i globalni tokovi novca i robe, te nešto manje ljudi, otvaraju pitanje o političkom poretku. Dok se javna sfera konstituira u virtualnom prostoru, mi smo i dalje subjekti političke zajednice koja se temelji na teritoriju. Donosi li mreža i tu promjene?

27 DISKURZIVNI PROGRAM – Političke implikacije mreže

Trans足 ponder Party

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Live izvedbe

Notein – samozatajni progresivni riječki istraživač elektronske glazbe koji sklada već desetak godina i koji je za Transponder objavio popriličan broj skladbi na nekoliko različitih nosača zvuka. Njegov je rad na tragu vrhunskih izvođača elektronske scene kao što su Autechre i slični lordovi elektronike. Više puta nastupao je live pod okriljem Transpondera i dio je Transponder crewa.

SITO I REŠETO – duo nastao 2010. godine u Voloskom, iz zajedničke ljubavi prema muzici raznih žanrova i interesa za sintisajzere i ritam mašine. Iako prostorno razdvojeni, pronalaze način za stvaranje glazbe i eksperimentiranje sa zvukom, stilom i različitim žanrovima, što rezultira eklektičnom smjesom stilova elektroničke muzike. Ove godine po prvi puta imaju priliku nastupiti uživo s repertoarom koji je presjek suradnje posljednjih godinu dana. https: // soundcloud.com / sito-i-re-eto

BLCNY – riječki electro dvojac kojeg čine Nevio Rugaš i Bernard Blašković. Dva druga koji su surađivali u electro pop bendu Senzorz. Nevio – bivši bubnjar grupe Quasarr te jedan od pokretača riječkog techno / electro / IDM labela Transponder records – i Bernard – DJ, autor, aranžer, producent i gitarist u raznim riječkim pop / punk / rock bendovima – skupili su svoje sintisajzere i ritam

AREXX – dugogodišnji DJ, producent i alkemičar zvuka, s puno glazbenog staža u svijetu elektronske glazbe, multimedije i ostalog. Od samog početka Transponder labela sudjeluje u njegovom radu. https: / / soundcloud.com / arexx-music http: / / arexx.bandcamp.com

mašine te krenuli u pravcu izvođenja elektronske glazbe uživo. Made in Rijeka.

29 TRANSPONDER PARTY – Live IZVEDBE

Moje tvoje naše #10 – Mreža – 23.– 2 5. 4. 2015.

Transponder

DJ Samo Tako ( Detroit, Electro, Acid ) – “Produkcijom se bavi godinu ili dvije te svira raznorazne perkusije, igra se s hardverima, a neki materijali su mu već izašli u digitalnom obliku na jednome od riječkih labela. Glazbu preferira ovisno o situaciji i raspoloženju, a njegov ukus seže od reggaea, duba, dub techna do electra i detroit techna. U slobodno vrijeme pika vinile, i to jako dobro! Pošto je poprilično samozatajan, u istinitost navedenih tvrdnji morat ćete se sami uvjeriti na njegovom soundcloud profilu.”

Transponder records ( od 2006. > ) je glazbena etiketa za promociju elektronske glazbe, te fuzija i istraživanja s ishodištem u suvremenoj elektronskoj glazbi. Mi poznajemo i njegujemo glazbenu povijest elektronike, glazbene varijacije i pravce, te promoviramo glazbu koja ima svoje mjesto u prostoru i vremenu. Cilj Transponder recordsa je putem zajedničkog glazbenog profila omogućiti prostor za djelovanje glazbenicima i producentima elektronike ( ne samo ) u Rijeci, a da pritom mogu sačuvati vlastiti zvuk i glazbenu prepoznatljivost. Želimo stvoriti nukleus lokalne elektronike što kvalitetom može služiti na čast Rijeci, predstavljajući je kao nezaobilazni punkt na glazbenoj sceni.

https: // soundcloud.com / samotako

http: // transponder-records.bandcamp.com https: // soundcloud.com / transponderrec

30 TRANSPONDER PARTY – DJ – TRANSPONDER

Produkcija Drugo more Partneri Aksioma – Zavod za sodobne umetnosti, Ljubljana, MMSU Rijeka, Peek&Poke Koncepcija programa Davor Mišković Kustosica izložbe Tatiana Bazzichelli Moderator diskurzivnog programa Željko Blaće Produkcija Petra Corva, Ivana Katić, Dubravko Matanić Odnosi s javnošću Petra Corva Vizualni identitet Oleg Šuran Izdavač Drugo more Urednica kataloga Ivana Katić Tekstovi Tatiana Bazzichelli, Davor Mišković Prijevodi Jele Dominis, Dubravko Matanić Tisak Tiskara Zelina Naklada 300 primjeraka

osebna zahvala na sugestijama, pomoći i uloženom radu svim volonterima, Des Freedmanu, Janezu Janši, Juriju Krpanu, Marcellu Marsu, Tomislavu Medaku i Svetozaru Niloviću. Donatori: Program Europske komisije Kreativna Europa, Nacionalna zaklada za razvoj civilnog društva, Zaklada Kultura nova, Ministarstvo kulture Republike Hrvatske, Primorsko-goranska županija, Grad Rijeka – Odjel za kulturu Program je realiziran u okviru Masters & Servers, suradničkog projekta Aksiome ( SI ), Drugog mora ( HR ), AND-a ( UK ), Link Art Centra ( IT ) i d-i-n-a / The Influencers-a ( ES ). Prostorima Palacha, Filodrammatice i Marganova upravlja Savez udruga Molekula Tiskanje ove publikacije omogućeno je financijskom podrškom Nacionalne zaklade za razvoj civilnog društva. Sadržaj ove publikacije isključiva je odgovornost autora i nužno ne izražava stajalište Nacionalne Zaklade. Ova publikacija je tiskana uz financijsku podršku Zaklade “Kultura nova”. Mišljenja izražena u ovoj publikaciji odražavaju isključivo mišlje-

nja autora i ne izražavaju nužno stajalište Zaklade “Kultura nova”. Ovaj projekt je financiran uz potporu Europske komisije. Sadržaj ove komunikacije isključiva je odgovornost autora i ni na koji način ne predstavlja stavove Europske komisije.