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

Mine, yours, ours 2015 / Moje, tvoje naše 2015

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Page 1: Mine, yours, ours 2015 / Moje, tvoje naše 2015

MINE YOURS OURS #10

Network 23.– 25. 04. 2015

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T he theme of this year's tenth edition of Mine, Yours, ours festival is network.

Network is a term for structure of lines and pathways that represent the key form of our contemporary life. Metaphors often reflect our notion of the world; in the 20th century com-mon metaphors where that of mechanical and organic and today the dominant metaphor is network. The metaphors we use depend on our general notion of the world, and it seems today we see our world primarily through information or information flow. This change of metaphor is partly due to our optimistic view of possible changes in our social reality - a departure from hierarchy towards a more egalitarian society. However there seems to be nothing liberating from changing old metaphors with a new one, since the social reality is formed by new struc-tures with their own forms of control. It is obvi-ous that decentralization or crowd ideology do not present a value per se but a mechanism that is equally susceptible to war, advertising, terror-ism, activism, subordination and force. The so-cieties 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 anony-mous and inhumane. The network brought back a system that is above human notions of power and control, a system that paralyzes human en-

deavours for social change. Yet it seems difficult to intimidate people with non-human beings and systems and therefore new movements arise that manifest their resistance within the network and create new battlefields of political struggle. Although we are dealing with asymmetrical war-fare, e.g. guerrilla warfare, where on one side we have whistleblowers, hackers and activists, and on the other side a powerful army of corpora-tions and governments, the war is not over yet for the optimism of the subordinated is still alive.

This year's program brings bits and pieces that will enrich the new metaphor that reflects our world today. With these bits and pieces we can build new hubs of knowledge and action that will inform, inspire and enable further action.

— Davor Mišković

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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, Rijeka② OKC Palach, Kružna 8, Rijeka③ Filodrammatica, Korzo ²⁸ ⁄ ₁, Rijeka

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E X H I B I T I O N

NETWORKED DISRUPTION

Rethinking Oppositions in Art,

Hacktivism and Business

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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; Co-production: 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.

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What is Networked

Disruption?

T his exhibition brings together artworks and collectives that apply the strategy of

“disruption” to generate criticism. In the business world, disruption means to

introduce into the market an innovation that the market does not expect. This innovation comes from within the market itself. Transferred into the field of art and activism, disruption means to gen-erate practices and interventions that are unex-pected, and play within the systems under scrutiny.

Art, hacktivism and business are often intertwined, generating a feedback loop of rev-olutions and co-optations that is functional to the development of capitalism. Capitalism needs our revolutions because they generate new life-styles, products and practices that create new markets and consumer desires. Similarly, sys-tems of power need our resistance and opposi-tion 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, seman-tic confusion, multiple truths, and disruption.

Diverse points of view are combined, among the groups and within the groups them-selves. By keeping such connections open without

reaching a curatorial synthesis, we invite visitors to create their own path in the line of disruption.

Disruption is networked. Enjoy it before it is spoiled.

— Tatiana Bazzichelli

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

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NETWORKED DISRUPTION – OCTO P7C-ES

OCTO P7C-ES

Installation, various materials ( 2013–2015 )

O n the occasion of Networked Disruption, Telekommunisten will present to poten-

tial investors and partners a brand new product of OCTO, the leader in pneumatic physical packet communication systems. What OCTO is devel-oping for global users is now available for your company or institution.

OCTO's new Enterprise Security ( ES ) Sys-tem is the most effective way to maintain se-curity and efficiency in your company's physical Intranet. The OCTO P7C-ES features revolutionary CAPS-LOCK® technology, a fully-integrated sys-tem 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 pro-vides 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 increas-ing centralisation and enclosure that results, as well as the potential for distributed producers employing a collective stock of productive as-sets to provide an alternative economic basis for a free society.

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

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NETWORKED DISRUPTION – Neoism

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.

A ccording to Monty Cantsin, Neoism is a name invented by Monty Cantsin to refer

to an international movement of multiple ori-gins. 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 appropriat-ed: 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 Eu-rope ( among others, the UK, Germany, Italy, the Netherlands, Yugoslavia, and Hungary ), and later to Australia and Asian countries. The first pub-lic 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 set-ting steam irons on fire, wearing dead fish as hats, blood campaigns, free haircuts, telepathic com-munication through clothes hangers, making the collective-anonymous zine SMILE, and spreading paradoxes, pranks, plagiarisms and fakes.

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 peo-ple using it aren't. What is usually an egoistical role ( star ) becomes abstracted by its disassoci-ation from a particular person. When someone thinks / feels that the star context / advantage might be useful, they can “wear” the Monty Cantsin identity.

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

10NETWORKED DISRUPTION – Anonymous

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.

A 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, so-ciological 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 spread-ing pranks for the lulz ( a derivation of lol – laugh out loud ), beyond moral conformism and polit-ical correctness, as well as fighting for freedom and social rights, facing corporations, oppres-sion 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 most recent political protests in Spain and Fer-guson that had large impact on public opinion and civil society.

Anonymous is everyone and is no one ( Anony-mous, 2007 ).

Anonymous is shrouded in some degree of deliberate mystery. It purports to have no leaders, no hierarchical structure, nor any ge-ographical 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 ).

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

11NETWORKED DISRUPTION – Mail Art

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.

T he international circuit of mail art, which since the mid-sixties has attracted thou-

sands of participants on a global scale, has al-ways been a grassroots alternative to the “offi-cial art system”, “disrupting” in many ways the traditional art practices and established rules of the art market. The objects of mail art ( postcards, envelopes, artists' stamps, etc. ) are created to be exchanged as gifts among the authors and are generally not for sale. Mail art is open to all. There are no distinctions between amateurs, be-ginners or professional artists. In a mail art pro-ject there is no selection of works, no jury, no fee to be paid, and no rejection – everything is exhibited. In the mail art community, the process is more important than the physical product.

Mail art circuits have been a fertile breed-ing ground for disruptive sub-networks such as Neoism and the Luther Blissett Project. This sec-tion 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 col-lective interactive project ( The Table Of the Little Iconoclast, 2000, with rubberstamps on shoes'

heels by various authors that the visitors can use to create their own Iconoclast compositions ).

— Vittore Baroni, March 2015

Vittore Baroni is an Italian artist, music critic and explorer of countercultures. In 1977 he dis-covered mail art, became heavily addicted in it and participated in numerous international pro-jects and shows. He published 100 issues of the magazine ARTE POSTALE! ( 1979–2009 ) and var-ious books on radical music and art, amongst them the mail art guidebook, Arte Postale ( AAA editions, 1997 ). He is active in the fields of visual poetry, sound art, street art, and comics.

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

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

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.

T hese works bring together into an in-terlinked 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, pro-moting and organizing collective pranks, inter-ventions, 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 ), be-gan 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 Commu-niversity ( 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 radical contexts for public social experimenta-tion, outlandish street theatre, intense interper-sonal analysis and urban exploration.

Emerging from the ashes of the Suicide Club, The Cacophony Society ( founded in 1986 by ex-Sui-cide Club members ) was an informal, unclassifi-able group of pseudonymous people who spent their time exploring the boundaries of a conform-ist society, and occasionally crashing them, by disrupting propaganda, mocking respected sym-bols ( like in their infamous Santarchy, an invasion of rebellious Santas ), exploring forbidden urban space ( from sewers to bridges ), rebuilding free-dom through mayhem, confusion, dangerous operations and sometimes just outright madness.

The Billboard Liberation Front start-ed 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 Front and co-founder and first operations man-ager of The Burning Man Festival.

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

13NETWORKED DISRUPTION – Luther Blissett

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.

T 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 pow-er. Luther Blissett also implied a deep criticism of the very concept of politics, questioning author-ity, leadership, and the mechanism of political representation. Even if many Luthers worked to disrupt capitalism, they also tried to appro-priate 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 internation-al underground scene. This installation contains 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 sit-uations” in the course of the 1990s.

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 rea-sons 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.

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

14NETWORKED DISRUPTION – Anna Adamolo

Anna Adamolo

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

A 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 ) nation-al movement in 2008 and 2009. The Anomalous Wave included many individuals and groups who refused to be described as one movement fol-lowing the same flag, but whose common objec-tive was to contest and abolish the “Gelmini Edu-cation 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 medi-um for viral communication and networking was crucial, demonstrating that social media could be manipulated in unpredictable ways. This instal-lation shows the timeline of the Anna Adamolo experience integrating online and offline practic-es, and the tools people used to appropriate and spread the Anna Adamolo fictional identity during the months of protests.

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

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

15NETWORKED DISRUPTION – Disruptive Feedback Loop Diagram

Disruptive Feedback

Loop Diagram

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

A n intertwined feedback loop between art, business entrepreneurship and strate-

gies of disruption.

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

16NETWORKED DISRUPTION – Les Liens Invisibles

Les Liens Invisibles

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

A dapting the idea of Seppuku, the Japa-nese ritual suicide of “stomach-cutting”

to the context of Facebook, Les Liens Invisibles invited users to deactivate their Facebook ac-counts. Taking inspiration from the Seppuku as performed by Luther Blissett in 1999, the Sep-pukoo 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 sys-tem, by inducing their friends to commit virtual suicide as well. The virtual suicide service func-tioned 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 compa-ny 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 Face-book. Through an open source software ( Open Inviter ) and a PHP library, Seppukoo built a sim-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 op-eration that initially used important testimonials to spread the information, and the flow of logs

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, so-cial media subvertising, and media re-appropri-ation. Since 2007 Les Liens Invisibles have been infiltrating global communication networks in order to join and expand the invisible connec-tions between art and real life.

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

17NETWORKED DISRUPTION – Janez Janša, Janez Janša, Janez Janša

Janez Janša,

Janez Janša, Janez Janša

Troika, 2013, Installation.

I n 2007, three artists joined the conserva-tive Slovenian Democratic Party ( SDS ). The

welcome letter they got from the party's lead-er 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 of-ficial documents indicating: 3 SDS membership cards, 3 ID cards and 3 Mastercards with the re-production 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 fea-tured 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 Contem-porary Art, Ljubljana and artistic director of the Aksioma | Project Space.

Janez Janša ( SI ) is an artist, writer, per-former and director of interdisciplinary per-formances 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 FAB-RE – La Discipline du chaos, le chaos de la dis-cipline ( Armand Colin, Paris, 1994 ) and was the editor-in-chief of MASKA, Performing Arts Jour-nal 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 prac-tices, 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 numer-ous other venues.

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

18NETWORKED DISRUPTION – Peng! Collective

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.

I n May 2014, Peng! Collective created two personas: “Google employees” Gloria Spin-

dle 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 inter-net, after all those disturbing revelations about surveillance. The products – Google Trust ( insur-ance against surveillance and data theft ), Goog-le 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 suppos-edly 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 cre-ate difficult moments for politics and business and make media stories about social justice.

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

19NETWORKED DISRUPTION – Laura Poitras

Laura Poitras

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

I n January 2013, Laura Poitras was contacted by an anonymous source claiming to have

evidence of National Security Agency ( NSA ) ille-gal activity. After several months of anonymous emails, she travelled to Hong Kong with jour-nalist 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 in-terview 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 Ameri-ca 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 ).

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

20NETWORKED DISRUPTION – Trevor Paglen

Trevor Paglen

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

C ircles is a film of a rotating landscape tak-ing 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 re-searched ways to see and interpret the world around us. He is the author of five books and numerous articles on subjects including exper-imental geography, state secrecy, military sym-bology, 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 Fran-cisco Museum of Modern Art; and numerous solo and group exhibitions. He holds a Ph. D. in Geography from U. C. Berkeley.

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

21NETWORKED DISRUPTION – Julian Oliver

Julian Oliver

Julian Oliver, The Snowden Templates, 2015.

T his installation hosts LibreOffice tem-plates 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 engi-neer and artist based in Berlin. His work focuses on software art, data forensics, creative hack-ing, computer networking, counter-surveillance, object-oriented programming for artists, aug-mented reality, virtual architecture, video-game development, and information visualisation. He is an advocate of Free and Open Source Soft-ware 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 re-ceived the distinguished Golden Nica at Prix Ars Electronica 2011 ( with Daniil Vasiliev ).

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DisCURsiVE pRogRam

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Moje tvoje naše #10 – Mreža – 23.– 29. 4. 2015.

23DISCURSIVE PROGRAM – Networked Disruption: Rethinking Opposition in Art, Hacktivism and Business

Networked Disruption:

Rethinking Opposition in Art,

Hacktivism and Business

Introducing the exhibition at MMSU.Presentation by Tatiana Bazzichelli23 April, 18 h @ Filodrammatica

T 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 capital-ism 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 oppo-sitions 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 ques-tioned by its etymology, and from an ethical point of view. The aim is not to create a histori-cal 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 research-er, 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 dis-ruption, based in Berlin. She was programme curator at the transmediale festival from 2011 to 2014, initiating the year-round reSource trans-medial culture project, and was a Post-Doctoral researcher at the Centre for Digital Cultures, Le-uphana University of Lüneburg.

http: // www.networkingart.eu http: // www.disruptionlab.org

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Moje tvoje naše #10 – Mreža – 23.– 29. 4. 2015.

24DISCURSIVE PROGRAM – The Californian Ideology – twenty years after

The Californian Ideology –

twenty years after

— Richard Barbrook24 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 Lan-guages at the University of Westminster. In the early 1980s, he was involved with pirate radio broadcasting and published extensively on ra-dio issues. Much of his material on media reg-ulation 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 emerg-ing technologies affect culture, the economy and politics. His other important writings about the Net include “The Hi-Tech Gift Economy”,

“Cyber-communism”, “The Regulation of Liber-ty”, 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.

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

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Moje tvoje naše #10 – Mreža – 23.– 29. 4. 2015.

25DISCURSIVE PROGRAM – Interruptive Usership

Interruptive Usership

— Stephen Wright24 April, 20 h @ Filodrammatica

O ver the past ten or fifteen years, the cat-egory 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 prac-tices 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 re-cently repurposed form of practical subjectivity? To start with, usership is both non revolution-ary ( 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 nev-er seeks rupture per se, but rather interruption. As users – we, the users of words, tools, drugs, programs – are increasingly seeing our collec-tively 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.

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 fo-cused primarily on the politics of usership, par-ticularly in contexts of collaborative, extra disci-plinary practices with variable coefficients of art. His current research deals above all with the on going usological turn, and current forms of con-temporary escapology, in the fields of art and epistemology, examining the conditions of pos-sibility and use of practices which have deliber-ately withdrawn from the event horizon,  ne-cessitating a fundamental reconsideration and repurposing of the conceptual architecture and vocabulary inherited from modernity. In 2013, he published Toward a Lexicon of Usership.

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Moje tvoje naše #10 – Mreža – 23.– 29. 4. 2015.

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

Leaking Social Change:

WikiLeaks, Leak Activism

and Media Transformation

— Arne Hintz25 April, 18 h @ Filodrammatica

T 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 techno-logical change. His publications include the co-ed-ited volume "Beyond WikiLeaks: Implications for the Future of Communications, Journalism and Society", and his current research includes the collaborative project "Digital Citizenship and Sur-veillance Society". He is Chair of the Community Communication Section of the International As-sociation for Media and Communication Research ( IAMCR ). As a citizen media expert and communi-cation 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 ).

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Moje tvoje naše #10 – Mreža – 23.– 29. 4. 2015.

27DISCURSIVE PROGRAM – Political implications of networks

Political implications

of networks

— Discussion25 April, 20 h @ Filodrammatica

P 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 com-munity. 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 communi-ties that are based on territory. Can the network bring about changes?

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Trans­ponder parTy

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Moje tvoje naše #10 – Mreža – 23.– 29. 4. 2015.

29TRANSPONDER PARTY – Live performance

Live performance

Notein – a humble progressive explorer of elec-tronic music from Rijeka who has been compos-ing 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 un-der the aegis of Transponder and is part of the Transponder Crew.

BLCNY – electro duo from Rijeka consisting of Nevio Rugaš and Bernard Blašković. Two friends who collaborated in the electro pop band Sen-zorz. Nevio – former drummer in Quasarr and one of the founders of Rijeka's techno / elec-tro / IDM label Transponder records – and Ber-nard – 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.

SITO I REŠETO – duo that was created in 2010 in Volosko, from their shared love of various genres of music and shared interests in synthe-sizers and drum machines. Although physically separated, they are finding ways to create mu-sic and experiment with sound, style, and dif-ferent 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

AREXX – long-time DJ, producer and sound al-chemist, 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

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MINE YOURS OURS #10 – NETWORK – 23.– 25. APRIL 2015

30TRANSPONDER PARTY – DJ – TRANSPONDER

DJ

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.”

https: // soundcloud.com / samotako

Transponder

Transponder records ( from 2006. > ) is a music label for promotion of electronic music, fusions and research originating in contemporary elec-tronic music. We know and cherish the histo-ry 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 mu-sic ( 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.

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

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Page 32: Mine, yours, ours 2015 / Moje, tvoje naše 2015

ProductionDrugo more

PartnersAksioma – Zavod za sodobne umetnosti, Ljubljana, MMSU Rijeka, Peek&Poke

ConceptDavor Mišković

Exhibition curatorTatiana Bazzichelli

Discussion moderatorŽeljko Blaće

ProductionPetra Corva, Ivana Katić, Dubravko Matanić

Public relationsPetra Corva

Visual identityOleg Šuran

PublisherDrugo more

EditorIvana Katić

TextsTatiana Bazzichelli, Davor Mišković

TranslationJele Dominis, Dubravko Matanić

PrintTiskara Zelina

Print run300 primjeraka

S 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 finan-cial support of the National Foundation for Civil Society Development. The contents of this pub-lication are the sole responsibility of the author and do not necessarily express the position of the National Foundation.

This publication is printed with the finan-cial 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 communi-cation 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.

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MOJE TVOJE NAŠE #10

Mreža 23.– 25. 04. 2015.

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D eseto izdanje manifestacije Moje, tvoje, naše za temu ima mrežu. Mreža je izraz

za strukturu koja se sastoji od čvorišta i bridova ( linija, veza ) i predstavlja ključni oblik organizacije suvremenog života. Naše poimanje svijeta uvijek se odvija kroz određene metafore, u 20-stoljeću prevladavale su metafore mehaničkog i organ-skog, a danas je dominantna metafora mreže. Metafora koju koristimo ovisna je o općem po-gledu na svijet, a čini se da danas svijet prven-stveno doživljavamo kao informaciju, kao protok informacija. Ovu promjenu metafore pratio je optimizam moguće promjene same društvene stvarnosti, odmak od hijerarhija i stvaranje ega-litarnijeg društva. Međutim, izgleda da nema ničega oslobađajućeg u zamjeni starih metafo-ra mrežom, društvenu stvarnost oblikuje nova struktura s vlastitim oblikom kontrole. Pokazalo se da decentralizacija ili ideologija roja ne pred-stavljaju vrijednost po sebi nego mehanizam koji je podjednako pogodan ratovanju, marketin-gu, 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 karak-teristično za mrežu je činjenica da ne možemo uprijeti prstom u neki centar moći, moć se čini anonimna i nehumana. Mreža nam je vratila su-stav koji se čini izvan dosega ljudskih moći poi-manja i utjecaja, koji paralizira ljudsko nastojanje za društvenom promjenom. Pa ipak, čini se da

je ljude teško u potpunosti zastrašiti neljudskim bićima i sistemima, tako da se rađaju novi pokreti koji otpor provode kroz samu mrežu i stvaraju nova bojna polja političke borbe. Iako se radi o asimetričnom konfliktu, poput gerilskog ratova-nja, gdje na jednoj strani stoje zviždači, hakeri, aktivisti, a s druge moćna armija korporacija i vlada, sukob još nije gotov, optimizam podči-njenih se i dalje hrani.

Naš ovogodišnji program donosi fragmen-te koji će obogatiti metaforu kroz koju spoznaje-mo svijet, elemente od čijih niti možemo satkati nova čvorišta spoznaje i djelovanja, koja će vas informirati, inspirirati i omogućiti djelovanje.

— Davor Mišković

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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, Rijeka② OKC Palach, Kružna 8, Rijeka③ Filodrammatica, Korzo ²⁸ ⁄ ₁, Rijeka

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I Z L O Ž BA

Umreženi poremećaji

Preispitivanje otpora u umjetnosti,

haktivizmu i poslovnom svijetu

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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.

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Što su Umreženi poremećaji?

I zložba povezuje radove i kolektive koji pri-mjenjuju strategiju “poremećaja” kao načina

poticanja kritike.U poslovnom svijetu poremećaj ozna-

čava tržišno predstavljanje inovacije koju trži-šte uopće ne očekuje, iako se pojavljuje unutar 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 kapi-talizma. Kapitalizmu trebaju naše revolucije jer one generiraju nove životne stilove, proizvode i prakse koje stvaraju nova tržišta i prohtjeve po-trošača. 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 pore-mećaja iz domene biznisa i predlažemo radove koji iskrsavaju iz unutrašnjosti političkih, eko-nomskih, tehnoloških i umjetničkih sustava. Igra-jući 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-

mo posjetitelje na stvaranje vlastitih putova u nizu poremećaja.

Poremećaj je umrežen. Uživajte prije nego što se iskvari.

— Tatiana Bazzichelli

Page 40: Mine, yours, ours 2015 / Moje, tvoje naše 2015

Moje tvoje naše #10 – Mreža – 23.– 25. 4. 2015.

1

DISKURZIVNI PROGRAM – OCTO P7C-ES

OCTO P7C-ES

Instalacija, razni materijali ( 2013–2015 )

U sklopu Umreženih poremećaja, Telekom-munisten 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 ) su-stav najefektivniji je način održavanja sigurnosti i efikasnosti lokalne mreže vaše tvrtke. OCTO P7C-ES sadrži revolucionarnu CAPS-LOCK® tehnologi-ju, u potpunosti integrirani sustav koji dopušta cjelovito praćenje i kontrolu sadržaja kapsule ( capsule contents control – 3CT ) prilikom svakog prijenosa, osiguravajući da samo autorizirani ko-risnici imaju mogućnost korištenja vašeg OCTO P7C-ES. CAPS-LOCK® također omogućava jedin-stvene uvide i kontrolu ponašanja vaših zapo-slenika, 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-uzdanost vaših fizičkih paketa.

Telekommunisten je berlinski kolektiv koji se bavi proučavanjem političke ekonomije komu-nikacijskih tehnologija. Središnje teme uključuju neusklađenost kapitalizma sa slobodnim mre-žama i slobodnom kulturom, te povećavajuću centralizaciju i ograđivanje koje iz toga proizla-zi, kao i potencijal raspršenih proizvođača koji koriste zajedničku zalihu produktivne imovine kako bi omogućili ekonomsku bazu za slobod-no društvo.

8

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Moje tvoje naše #10 – Mreža – 23.– 25. 4. 2015.

2

Umreženi poremećaji – Neoism

Neoism

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

P rema riječima Montyja Cantsina koji ga je osmislio, Neoizam je naziv za međuna-

rodni 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 tre-balo prisvojiti: tijekom 1980-ih razvio se u među-narodnu subkulturnu mrežu ljudi koji su kolektiv-no 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 ekspe-rimentatora i subkulturnih aktivista. Djelatnosti su uključivale zapaljivanje parnih glačala, nošenje mrtvih riba kao šešira, besplatna šišanja, telepat-sku komunikacuju pomoću vješalica, izrađivanje zajedničkog anonimnog fanzina SMILE, te širenje paradoksa, podvala, plagijata i krivotvorina.

Monty Cantsin je ime koje je odabrao / osmislio Monty Cantsin u svrhu referiranja na međuna-rodnu 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.

9

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Moje tvoje naše #10 – Mreža – 23.– 25. 4. 2015.

10Umreženi poremećaji – Anonymous

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.

A nonymousi su u neprestanoj mijeni i po-kretu. 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 uni-verzalni politički mandat ili ideologiju, osim laba-ve obveze prema idealu prikrivenosti koji se na-zire u samome imenu. S obzirom na tu dinamiku netransparentnosti, obmana i igre, sociološka pitanja o pripadnicima manje su zanimljiva od pi-tanja mašte i djelokruga različitih taktika koje oni razvijaju. Zaista, jezgra samog projekta je dvo-strani pristup Anonymousa prema širenju pod-vala 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 korporacija-ma, 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 2008. godine, do nedavnih političkih prosvjeda u Španjolskoj i Fergusonu koji su imali veliki utjecaj na javno mnijenje i civilno društvo.

Anonymous je svatko i nitko ( Anonymous, 2007 ).Anonymous je u određenoj mjeri zama-

skiran promišljenom tajnovitošću, podrazumje-vajući odsustvo vođa, hijerarhijske strukture i geografskog epicentra. Iako postoje forme or-ganizacije i kulturne logike koje neupitno obli-kuju njegove višestruke izraze, svaki pojedinac ili skupina može prisvojiti ime Anonymous ( Co-leman, 2011 ).

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11Umreženi poremećaji – Mail Art

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.

M 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 um-jetnosti”, na mnoge načine “poremećujući” tradicio-nalne umjetničke prakse i etablirana pravila tržišta umjetnina. Predmeti poštanske umjetnosti ( ra-zglednice, 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 izme-đu amatera, početnika i profesionalnih umjetnika, nema selekcije radova, sudačkog žirija, plaćanja ko-tizacije, ni odbijanja – sve se izlaže. U zajednici po-štanske umjetnosti proces je važniji od fizičkog pro-izvoda. 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, Ita-lija ) s više ili manje eksplicitnim narušavalačkim ka-rakterom predstavljena je u formi fotokopija u boji poslaganih u neprekinuti kolaž s nizom primjerenih 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.

Vittore Baroni je talijanski umjetnik, glazbeni kritičar i proučavatelj kontrakultura. 1977. godi-ne otkrio je poštansku umjetnost, postao teško ovisan o njoj i sudjelovao u brojnim međunarod-nim 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 po-ezije, zvučne umjetnosti, ulične umjetnosti i stripa.

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12Umreženi poremećaji – Suicide Club / Cacophony Society / Burning Man / Billboard Liberation Front

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.

P rikazani radovi povezuju aktivnosti “Suici-de Cluba” i Društva kakofonista San Fran-

cisca, ranog razdoblja festivala “Burning man” i “Bilboard Liberation Fronta”. Povezane idejom proživljavanja svakodnevice kao umjetničke for-me, ove skupine vuku korijene iz eksperimental-nih umjetničkih praksi, promičući i organizirajući kolektivne podvale, intervencije, igre i grupne performanse. Naširoko poznati “Burning man”, open-air festival koji se od 1990-ih svake godine održava u pustinji Black Rock ( Sjeverna Nevada ), započeo je kao “event” Društva kakofonista i ne bi nikada bio moguć bez prethodnog postojanja

“Suicide Cluba” iz San Francisca.

“Suicide Club” San Francisca ( 1977–1983 ) bilo je taj-no društvo nastalo kao izdanak studentske grupe

“The San Francisco State Communiversity” ( 1969. ) unutar pokreta “Free University” s kraja 1960-ih i 1970-ih. Moto “Suicide Cluba” bio je proživljavati svaki dan kao da je posljednji, s ciljem stvaranja ra-dikalnih kontekstualnih situacija za javno društve-no eksperimentiranje, neobični ulični teatar, inten-zivnu interpersonalnu analizu i urbano istraživanje.

Izraslo na ostacima “Suicide Cluba”, “Druš-tvo kakofonista” ( The Cacophony Society, osnovano 1986. godine ) sačinjavala je neformal-na grupa pseudonimnih ljudi koji su istraživali granice konformističkog društva, povremeno ih slamajući ometanjem propagande, ruganjem uvaženim simbolima, gradnjom novih sloboda putem kaosa, zbrke i opasnih pothvata, a pone-kad jednostavno uz pomoć potpunog ludila.

“Billboard Liberation Front” nastao je 1977. godine u San Franciscu, prakticirajući ometanje kulture ( “culture jamming” ) mijenjanjem sadrža-ja 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”.

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13Umreženi poremećaji – Luther Blissett

Luther Blissett

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

L uther Blissett Project bio je primijenjeni mit kolektivnog interesa. S ciljem remeće-

nja kulturne industrije, Luther Blissett je tijekom 1990-ih godina mogao stvarati opću fantazma-goriju i od strane mnogih prihvaćenu filozofiju. Bio je «narodni junak», otvoreni identitet koji se mogao pridružiti svakome ili barem svima oni-ma koji su željeli odbaciti svakodnevicu urbanog života i hijerarhijske mehanizme moći. Luther Blissett također je podrazumijevao duboku kri-tiku samog koncepta politike, kao i propitivanje autoriteta, sustava vođa i mehanizama političke reprezentacije. Čak i onda kada su mnogi Lut-heri djelovali u pravcu remećenja kapitalizma, iz vlastitih su ironičnih razloga također pokušavali prisvojiti popularnu kulturu pretvaranjem svojih činova u dugotrajne kolektivne performanse. Iz-među 1994. i 1999. godine – od kojih je potonja ujedno i godina Blissettovog Seppukua, simbo-ličkog samoubojstva orkestriranog od strane pojedinih ranih urotnika uključenih u LBP – Luther Blissett postao je ikonom za mnoge sudionike međunarodne underground scene. Ova instala-cija sadrži raznoliku građu koju je Luther Blissett dijelio i distribuirao putem mreže “Bulletin Board Systems” i poštanske umjetnosti, te unutar un-derground krugova samoorganiziranih događa-ja i “otvorenih situacija” tijekom 1990-ih.

Luther Blissett je višenamjensko ime, kolek-tivni 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 nogome-taša afro-karipskih korijena iz 1980-ih, postalo je izrazito popularnim fenomenom i uspjelo se prometnuti u status narodnog heroja.

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14Umreženi poremećaji – Anna Adamolo

Anna Adamolo

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

A 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 po-kret pod istom zastavom no čiji je zajednički cilj bio suprotstavljanje i svrgavanje nacrta zakona o obrazovnoj reformi Mariastelle Gelmini, talijan-ske ministrice obrazovanja, sveučilišta i istraživa-nja. 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 strateš-kog medija komunikacije i umrežavanja pokaza-lo se presudnim, dokazujući kako se društvenim medijima može manipulirati na nepredvidljive načine. Ova instalacija prikazuje vremenski slijed iskustva Anne Adamolo, integrirajući online i of-fline prakse te alate korištene u svrhu prisvajanja i širenja fikcionalnog identiteta Anne Adamolo tijekom svih mjeseci trajanja prosvjeda.

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

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15Umreženi poremećaji – Disruptive Feedback Loop Diagram

Disruptive Feedback

Loop Diagram

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

I sprepletena povratna petlja umjetnosti, po-slovnog poduzetništva i strategija remećenja.

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16Umreženi poremećaji – Les Liens Invisibles

Les Liens Invisibles

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

P rilagođavajući ideju seppukua ( japan-skog rituala samoubojstva ”razreziva-

njem 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 simbo-liziralo je kolektivno odvajanje od mehanizma predodređenog za stvaranje profita na povezi-vanju ljudi. Korisnike se pozivalo na pokretanje viralnog procesa samoubojstva kako bi pove-ćali svoj bodovni rezultat u Seppukoo sustavu rangiranja, kao i na poticanje svojih prijatelja na činjenje istog. Servis virtualnog samouboj-stva djelovao je putem specifičnog koda koji je proizašao iz narušavanja Facebookovog susta-va “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 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 pri-stupiti početnoj stranici, prijaviti se s vlastitim korisničkim imenom i lozinkom, te nastaviti s deaktiviranjem stranice. Ova instalacija uključu-

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 dvo-jac čiji rad uključuje eklektično rekombiniranje popularne internetske kulture, izvrtanje inže-njerskih tehnika, parodiranje oglašavanja na društvenim mrežama i ponovno prisvajanje me-dija. Od 2007. godine Les Liens Invisibles zapo-čeli su svoju infiltraciju globalnih komunikacijskih mreža u svrhu pridruživanja i proširivanja nevid-ljivih veza između umjetnosti i stvarnog života.

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17Umreženi poremećaji – Janez Janša, Janez Janša, Janez Janša

Janez Janša,

Janez Janša, Janez Janša

Troika, 2013, instalacija.

K ad su se 2007. godine trojica umjetnika učlanili u konzervativnu Slovensku demo-

kratsku stranku ( SDS ), pozdravno pismo koje su primili od predsjednika stranke Janeza Janše za-vršavalo je sloganom “Što nas je više, brže ćemo stići do cilja!”. Nedugo nakon toga, sva su trojica umjetnika službeno promijenila svoja imena u Ja-nez 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 Master-card 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, per-former i producent koji živi u Ljubljani ( Slovenija ). Autor je brojnih video uradaka, performansa, insta-lacija i novomedijskih radova koje je predstavio na nekoliko izložbi, festivala i predavanja diljem svijeta. Redatelj je filma Jaz sem Janez Janša ( Ja sam Ja-nez Janša ), suosnivač i direktor Aksioma-e – Insti-tuta za suvremenu umjetnost Ljubljana, i umjetnič-ki upravitelj galerije Aksioma | Project Space.

Janez Janša ( SI ) je umjetnik, pisac, perfor-mer i kreator interdisciplinarnih performansa te konceptualnih i vizualnih djela. Njegov rad sadrži snažnu kritičku i političku dimenziju i usredoto-čuje se na odnose između umjetnosti te druš-tvenog i političkog konteksta. Autor je knjige JAN FABRE – La Discipline du chaos, le chaos de la dis-cipline ( Armand Colin, Paris, 1994 ), te je između 1999. i 2006. godine bio glavnim urednikom ča-sopisa 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.

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18Umreženi poremećaji – Peng! Collective

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.

U svibnju 2014. godine, Peng! Collective stvorio je dvije persone, “Googleove

zaposlenike” Gloriju Spindle i Paula von Ribbe-ricka, i poslao ih na berlinski festival re:publica, konferenciju o tehnologiji i inovacijama s preko 5.000 sudionika. S obzirom na nedavno Google-ovo preuzimanje Nest Labs-a i rastuće javno za-nimanje 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 ko-risnika u sigurnost interneta nakon svih potre-snih 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 stra-ne Googlea nakon procjene korisničkih potreba temeljene na analizi njihovih e-mailova i pretra-živanja. Ova instalacija prikazuje video lansiranja proizvoda na tržište.

Peng! je kolektiv koji se bavi produciranjem kre-ativnih 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 poli-tike i biznisa, te kako bi zanimanje medija usmje-rili prema temama društvene pravde.

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19Umreženi poremećaji – Laura Poitras

Laura Poitras

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

U siječnju 2013. godine, Lauru Poitras kontaktirao je anonimni izvor tvrdeći da

posjeduje dokaze o ilegalnim aktivnostima Na-cionalne agencije za sigurnost ( NSA – National Security Agency ). Nakon nekoliko mjeseci ano-nimnih e-mailova, Poitras je otputovala u Hong Kong zajedno s novinarom Glennom Greenwal-dom kako bi napravila intervju s izvorom, Edwar-dom 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 Ho-telu informacije o PRISM Programme-u. Režija i montaža: Laura Poitras / Praxis Films.

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

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20Umreženi poremećaji – Trevor Paglen

Trevor Paglen

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

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

Trevor Paglen svojim radom zamagljuje gra-nice 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 sigurno-sti, vojnog simbolizma i fotografije. Svoj je rad izlagao u Metropolitan Museum of Art ( New York ), Tate Modern ( London ), Walker Arts Cen-ter ( Minneapolis ), Museum of Modern Art ( San Francisco ), te na brojnim drugim samostalnim i grupnim izložbama. Ima doktorat iz geografije na Sveučilištu Berkeley.

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21Umreženi poremećaji – Julian Oliver

Julian Oliver

Julian Oliver, The Snowden Templates, 2015.

I nstalacija ugošćuje LibreOffice prezentaciju o postojećim izvješćima o Edwardu Snow-

denu, NSA i GCHQ. Korištena kao podloga za ra-zvoj i igru, služi kao pomoćno sredstvo komen-tiranja 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, provjera-vanja njihove budnosti i odanosti, ili samo kako bi dodatno nahranili vašu neumoljivu paranoju da su podaci koji su procurili o NSA i GCHQ za-pravo dio sveobuhvatne i zle igre o alternativ-noj 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 umre-žavanje, kontra-obavještavanje, objektno-ori-jentirano programiranje za umjetnike, prošire-nu 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 pri-mio istaknutu nagradu Golden Nica na Prix Ars Electronica 2011.

14

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Diskurzivni program

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Moje tvoje naše #10 – Mreža – 23.– 25. 4. 2015.

23DISKURZIVNI PROGRAM – Umreženi poremećaji: preispitivanje otpora u umjetnosti, haktivizmu i poslovnom svijetu

Umreženi poremećaji:

preispitivanje otpora u

umjetnosti, haktivizmu

i poslovnom svijetu

Uvod u izložbu u MMSU-uPrezentacija kustosice Tatiane Bazzichelli23.04. u 18 h @ Filodrammatica

P rezentacija kreće od pretpostavke da su umrežene grassroots zajednice hakera i

umjetnika, od trenutka nastanka digitalne kultu-re i cyber-utopija, u jednu ruku služile kapitaliz-mu kao sredstvo njegovog ubrzavanja, a s druge su strane doprinijele osnaživanju antagonizama prema njemu, generirajući kritičke umjetnič-ke prakse i haktivističke intervencije temeljene na tehnologijama i metodologijama dijeljenja i umrežavanja. Takvo međusobno remećenje i po-stojeći otpori između umjetnosti, poslovnog svi-jeta i mreže pokazuju kako su hakeri i umjetnici aktivni nositelji poslovnih inovacija, istovremeno bivajući njihovim podrivačima. Analiza poreme-ćaja kao kritičkog okvira, te disruptivnog biznisa kao umjetničke strategije, u ovoj prezentaciji po-staje sredstvo predstavljanja imanentnih praksi hakera, umjetnika, mrežnih djelatnika i poduzet-nika. Koncept biznisa propituje se pomoću nje-gove etimologije, kao i s etičke točke gledišta. Cilj pritom nije stvaranje povijesne ili filozofske analize društvenih i umjetničkih praksi, već pro-mišljanje različitih kritičkih modela, rasvjetljiva-nje proturječja i dvosmislenosti – kako unutar kapitalističke logike, tako i unutar umjetničkih i

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 Disrup-tion Network Laba, eksperimentalnog kustoskog projekta o umjetnosti, haktivizmu i remećenju, sa sjedištem u Berlinu. Bila je postdoktorska istraživačica Centra za digitalne kulture na Sve-učilištu 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

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24DISKURZIVNI PROGRAM – Kalifornijska ideologija – dvadeset godina poslije

Kalifornijska ideologija –

dvadeset godina poslije

— Richard Barbrook24.04. u 18 h @ Filodrammatica

R ichard Barbrook i Andy Cameron su 1995. godine objavili esej “The Californian Ide-

ology” koji se danas smatra pionirskom kritikom dotcom kapitalizma. Dva desetljeća kasnije, Ric-hard će se osvrnuti na povijesni trenutak kojim je članak bio inspiriran i obrazložiti zašto je važnost u njemu iznesenih argumenata još veća u umre-ženom društvu 21. stoljeća.

Danas profesor na Fakultetu društvenih, humanističkih i jezičnih znanosti Sveučilišta u We-stminsteru, Richard Barbrook se ranih 1980-ih ba-vio piratskim radio emitiranjem i opsežnim objav-ljivanjem 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 neo-liberalne politike američkog časopisa Wired, po-svećenog raspravama o utjecajima tehnologije na kulturu, ekonomiju i politiku. Njegovi utjecajni tek-stovi o internetu uključuju članke “The Hi-Tech Gift Economy”, “Cyber-communism”, “The Regulation of Liberty” i “The Class of the New”, dok njegova knjiga Imaginary Futures iz 2007. godine proble-matizira političke i ideološke uloge proročanstava o umjetnoj inteligenciji i društvu informacija.

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

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Moje tvoje naše #10 – Mreža – 23.– 25. 4. 2015.

25DISKURZIVNI PROGRAM – Interruptive Usership

Interruptive Usership

— Stephen Wright24.04. u 20 h @ Filodrammatica

U suvremenom je društvu kategorija kori-sništva ( usership ) došla do izražaja u po-

sljednjih deset ili petnaest godina, ponajviše u do-meni online 2.0 kulture. Njezina se pojava također veže uz studije invaliditeta i njihovo propitivanje ekspertne kulture, a donekle i uz sve veću raspro-stranjenost imersivnih umjetničkih praksi koje izbjegavaju model gledateljstva u korist snažnijih modela angažiranja i povezivanja. No, kakve su po-litike 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 riječi, alata, droga, programa – sve više spoznaju naše kolektivno ostvarene vrijednosti i značenja zarobljena u okviru tzv. “ozbiljnih igara”, INTERRUP-TIVNO korisništvo može razotkriti dosad nezamisli-vi politički potencijal: prekidanje ( interruption ) kao kontinuitet u formi diskontinuiteta – dopuštanje infiltracije i novih oblika korištenja postojećeg toka.

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 pro-mjenjivim 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 kon-ceptualne arhitekture i vokabulara, naslijeđenih od modernosti. 2013. godine objavio je knjigu Toward a Lexicon of Usership.

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Moje tvoje naše #10 – Mreža – 23.– 25. 4. 2015.

26DISKURZIVNI PROGRAM – Wikileaks, leak aktivizam i transformacija medija

Wikileaks, leak aktivizam

i transformacija medija

— Arne Hintz25.04. u 18 h @ Filodrammatica

N akon objavljivanja WikiLeaks dokume-nata 2010. godine i recentnijih Snowde-

novih prokazivanja tajnih službi, uloga zviždača dospjela je u centar pažnje, dok su slični projekti razotkrivanja slučajeva korupcije i nepravde u značajnom porastu. Koje su društvene i političke posljedice tih praksi? Svjedočimo li demokratiza-ciji curenja podataka? Jesu li time tradicionalni mediji postali jači ili slabiji? Ova će se prezentaci-ja baviti fenomenom leak platformi u kontekstu medijskih promjena, rastuće uloge podataka i pojave umrežene javnosti.

Arne Hintz je predavač na Fakultetu novinarstva, medija i kulturalnih studija u Cardiffu ( JOMEC ). U svojim se istraživanjima bavi komunikacijskim politikama, medijskim aktivizmom, građanskim medijima i tehnološkim promjenama. Jedan je od urednika knjige Beyond WikiLeaks: Implicati-ons for the Future of Communications, Journa-lism and Society, a trenutno je uključen u projekt

“Digital Citizenship and Surveillance Society”. Kao zagovaratelj komunikacijskih prava i stručnjak za građanske medije – čiji sadržaj stvaraju građani 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 Svjet-skog summita o informacijskom društvu ( WSIS ).

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Moje tvoje naše #10 – Mreža – 23.– 25. 4. 2015.

27DISKURZIVNI PROGRAM – Političke implikacije mreže

Političke implikacije mreže

— Okrugli stol25.04. u 20 h @ Filodrammatica

O krugli stol pod nazivom Političke implika-cije mreže je otvoreni razgovor o politič-

kim posljedicama organizacijskog i tehnološkog razvoja koji oblikuje našu svakodnevnicu. Cjelo-kupni 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 po-litici, 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 politič-ke zajednice. Neopisivi napredak komunikacija, deteritorijalizacija našeg djelovanja i globalni to-kovi novca i robe, te nešto manje ljudi, otvaraju pitanje o političkom poretku. Dok se javna sfera konstituira u virtualnom prostoru, mi smo i da-lje subjekti političke zajednice koja se temelji na teritoriju. Donosi li mreža i tu promjene?

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Trans­ponder parTy

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Moje tvoje naše #10 – Mreža – 23.– 25. 4. 2015.

29TRANSPONDER PARTY – Live IZVEDBE

Live izvedbe

Notein – samozatajni progresivni riječki istraživač elektronske glazbe koji sklada već desetak godina i koji je za Transponder objavio popriličan broj sklad-bi 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.

BLCNY – riječki electro dvojac kojeg čine Nevio Rugaš i Bernard Blašković. Dva druga koji su sura-đivali u electro pop bendu Senzorz. Nevio – bivši bubnjar grupe Quasarr te jedan od pokretača ri-ječkog techno / electro / IDM labela Transponder records – i Bernard – DJ, autor, aranžer, produ-cent i gitarist u raznim riječkim pop / punk / rock bendovima – skupili su svoje sintisajzere i ritam mašine te krenuli u pravcu izvođenja elektronske glazbe uživo. Made in Rijeka.

SITO I REŠETO – duo nastao 2010. godine u Vo-loskom, 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 eklek-tičnom smjesom stilova elektroničke muzike. Ove godine po prvi puta imaju priliku nastupiti uživo s repertoarom koji je presjek suradnje po-sljednjih godinu dana.

https: // soundcloud.com / sito-i-re-eto

AREXX – dugogodišnji DJ, producent i alkemičar zvuka, s puno glazbenog staža u svijetu elek-tronske glazbe, multimedije i ostalog.

Od samog početka Transponder labela sudjeluje u njegovom radu.

https: / / soundcloud.com / arexx-music http: / / arexx.bandcamp.com

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30TRANSPONDER PARTY – DJ – TRANSPONDER

DJ

DJ Samo Tako ( Detroit, Electro, Acid ) – “Produk-cijom se bavi godinu ili dvije te svira raznorazne perkusije, igra se s hardverima, a neki materijali su mu već izašli u digitalnom obliku na jedno-me 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 istini-tost navedenih tvrdnji morat ćete se sami uvjeriti na njegovom soundcloud profilu.”

https: // soundcloud.com / samotako

Transponder

Transponder records ( od 2006. > ) je glazbe-na 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 zajed-ničkog glazbenog profila omogućiti prostor za djelovanje glazbenicima i producentima elektro-nike ( 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.

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

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ProdukcijaDrugo more

PartneriAksioma – Zavod za sodobne umetnosti, Ljubljana, MMSU Rijeka, Peek&Poke

Koncepcija programaDavor Mišković

Kustosica izložbeTatiana Bazzichelli

Moderatordiskurzivnog programaŽeljko Blaće

ProdukcijaPetra Corva, Ivana Katić, Dubravko Matanić

Odnosi s javnošćuPetra Corva

Vizualni identitetOleg Šuran

IzdavačDrugo more

Urednica katalogaIvana Katić

TekstoviTatiana Bazzichelli, Davor Mišković

PrijevodiJele Dominis, Dubravko Matanić

TisakTiskara Zelina

Naklada300 primjeraka

P 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, Ministar-stvo kulture Republike Hrvatske, Primorsko-go-ranska 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 Mar-ganova 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 izra-žava stajalište Nacionalne Zaklade.

Ova publikacija je tiskana uz financijsku podršku Zaklade “Kultura nova”. Mišljenja izraže-na u ovoj publikaciji odražavaju isključivo mišlje-nja autora i ne izražavaju nužno stajalište Zaklade

“Kultura nova”.Ovaj projekt je financiran uz potporu Eu-

ropske komisije. Sadržaj ove komunikacije isklju-čiva je odgovornost autora i ni na koji način ne predstavlja stavove Europske komisije.