Revisiting the Curious World of Art Hacktivism

7/29/2019 Revisiting the Curious World of Art Hacktivism

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Revisiting the Curious World of Art & Hacktivism.Marc Garrett March 2012.

Revisiting the Curious World of Art & Hacktivism, is the first of a series of articles exploring

how contemporary artists engaged with technology and activism are transcending established

art behaviours. Crossing over into territories that reflect not only social and political contexts,

but new dialogues of experiencing and understanding art. The politics of today becomes the

background, the material and canvas of imaginative and critical play.

"It is not accidental that at a point in history when hierarchical power and

manipulation have reached their most threatening proportions, the very concepts of

hierarchy, power and manipulation come into question. The challenge to these concepts

comes from a redsicovery of the importance of spontaneity - a rediscovery nourished by

ecology, by a heightened conception of self-development, and by a new understanding

of the revolutionary process in society. Murray Bookchin. Post-scarcity and Anarchism

(1968).


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The rise of neo-liberalism as a hegemonic mode of discourse, infiltrates every aspect of our social

lives. Its exponential growth has been helped by gate-keepers of top-down orientated alliances;

holding key positions of power and considerable wealth and influence. Educational, collective and

social institutions have been dismantled, especially community groups and organisations sharing

values associated with social needs in the public realm. [1] Bourdieu.

In this networked society, there are controversies and battles taking place all the time. Battles

between corporations, nation states and those who wish to preserve and expand their individual and

collective freedoms. Hacktivist Artists work with technology to explore how to develop their critical

and imaginative practice in ways that exist beyond traditional frameworks of art establishment and

its traditions. This article highlights a small selection of artists and collaborative groups, whose

work is linked by an imaginative use of technology in order to critique and intervene into the

opressive effects of political and social borders.

Hacking & Cracking

In June 2000, Richard Stallman [2] when visiting Korea, illustrated the meaning of the word

'Hacker' in a fun way. When at lunch with some GNU [3] fans a waitress placed 6 chopsticks in

front of him. Of course he knew they were meant for three people but he found it amusing to find

another way to use them. Stallman managed to use three in his right hand and then successfully pick

up a piece of food placing it into in his mouth.

"It didn't become easyfor practical purposes, using two chopsticks is completely

superior. But precisely because using three in one hand is hard and ordinarily never

thought of, it has "hack value", as my lunch companions immediately recognized.

Playfully doing something difficult, whether useful or not, that is hacking." [4] Stallman

The word 'hacker' has been loosely appropriated and compressed for the sound-bite language of

film, tv and newspapers. These commercial outlets hungry for sensational stories have

misrepresented hacker culture creating mythic heroes and anti-heroes in order to amaze and shock

an unaware, mediated public. Yet, at the same time hackers or 'crackers' have exploited this

mythology to get their own agendas across. Before these more confusing times, hacking was

considered a less dramatic activity. In the 60s and 70s the hacker realm was dominated by computer

nerds, professional programmers and hobbyists.

In contrast to what was considered as negative stereotypes of hackers in the media. Steven Levy [5],


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in 1984 published Hackers: Heroes of the Computer Revolution [6]. In three parts, he writes about

the canonical AI hackers of MIT, the hardware hackers who invented the personal computer

industry in Silicon Valley, and the third-generation game hackers in the early 1980s. Yet, in this

publication, what has had the most impact on hacker culture and is still used widely as a guideline

by many is the 'hacker ethic'. He identified this Hacker Ethic to be a code of practice consisting of

key points such as that "all information is free", and that this information should be used to "change

life for the better".

The Hacker Ethic:

1. Access to computersand anything which might teach you something about the way the world

worksshould be unlimited and total. Always yield to the Hands-on Imperative!

2. All information should be free.

3. Mistrust authoritypromote decentralization.

4. Hackers should be judged by their hacking, not bogus criteria such as degrees, age, race or

position.

5. You can create art and beauty on a computer.

6. Computers can change your life for the better.

Levy's hacker ethic promotes the idea of performing a duty for the common good, an analogy to a

modern day 'Robin Hood'[ibid]. Proposing the concept that hackers are self-reliant whilst embracing

a 'healthy' anti-authoritarian stance, combined with free and critical thinking. Proposing that hackers

should be judged by their ability to hack, and presenting hacking as an art-form. Levy also says that

the Free and open source software (FOSS) movement is the descendant of the hacker ethic.

However, Levy's hacker ethic has often been quoted out of context and misunderstood as to refer to

hacking as 'breaking' into computers. This specifically prescribed role, denies the wider and creative

context of what hacking is and could be. It does not have to be just about computer security.

This leads us to 'crackers'. All crackers hack and all hackers hack. But, crackers are seen as second

rate wannabe hackers by the older generation of hackers. The Black Hat Hacker or cracker designs


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and releases malicious code, gathers dangerous information and brings down sensative systems. The

White Hat Hacker hunts down and destroys malicious code, and the casual hacker who hacks in

order to learn information for his or her own curiosity; both generally dislike Black Hats and

Crackers, and tend to view them as computer criminals and dysfunctional juveniles. Lately,

crackers have also been labeled as 'script kiddies'. As a kind of snobbish insult, it refers to those

who are not capable of building or programming their own tools, but tend to use scripts and

programs written by others to perform their intrusions. To add to the confusion we also have the

term 'Grey hat'. Which refers to a hacker acting between black hat and white hat. Indeed, this could

demonstrate where art hacktivists reside, challenging the trappings of the traditional concept of

goody and baddy.

"There is another group of people who loudly call themselves hackers, but aren't. These

are people (mainly adolescent males) who get a kick out of breaking into computers and

phreaking the phone system. Real hackers call these people 'crackers' and want nothing

to do with them." [7] Raymond.

"The basic difference is this: hackers build things, crackers break them." [ibid]

Raymond.

But before we judge,

let's view a snippet of the \/\The Conscience of a Hacker/\/ by +++The Mentor+++

Written on January 8, 1986.[8]

"This is our world now... the world of the electron and the switch, the

beauty of the baud. We make use of a service already existing without paying

for what could be dirt-cheap if it wasn't run by profiteering gluttons, and

you call us criminals. We explore... and you call us criminals. We seek

after knowledge... and you call us criminals. We exist without skin color,

without nationality, without religious bias... and you call us criminals.

You build atomic bombs, you wage wars, you murder, cheat, and lie to us

and try to make us believe it's for our own good, yet we're the criminals."


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Art & Hacktivism

The term 'Hacktivism' was officially coined by techno-culture writer Jason Sack in a piece about

media artist Shu Lea Cheang published in InfoNation in 1995. Yet, the Cult of the Dead Cow [9] are

also acknowledged as defining the term. The Cult of the Dead Cow are a group of hackers and

artists. They say the Hacktivism phrase was originally intended to refer to the development and use

of technology to foster human rights and the open exchange of information.

Hacktivism techniques include DoS attacks, website defacement, information theft, and virtual

sabotage. Famous examples of hacktivism include the recent knocking out of the PlayStation

Network, various assistances to countries participating in the Arab Spring, such as attacks on

Tunisian and Egyptian government websites, and attacks on Mastercard and Visa after they ceased

to process payments to WikiLeaks.

Hacktivism: a policy of hacking, phreaking or creating technology to achieve a political or social

goal.

"Hacktivism is a continually evolving and open process; its tactics and methodology are

not static. In this sense no one owns hacktivism - it has no prophet, no gospel and no

canonized literature. Hacktivism is a rhizomic, open-source phenomenon." [10]

metac0m.

The practice or behaviour of Hacktivism is at least as old as Oct 89 when DOE, HEPNET and

SPAN (NASA) connected to (virtual) networked machines world wide. They were penetrated by the

anti-nuclear group WANK worm.

WANK penetrated these machines and had their login screens altered to...


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HACKING BORDERS: Examples of Art Hacktivism & Cultural Hacking

"Radical groups are discovering what hackers have always known: Traditional social institutions are

more vulnerable in cyberspace than they are in the physical world. And some members of the

famously sophomoric hacker underground are becoming motivated by causes other than ego

gratification." [11] Harmon.

Hacktivism, exploits technology and the Internet, experimenting with the immediacy of

distributable networks as a playful medium for independent, creative and free expression. There has

been a gradual and natural shift from net art (and net.art) into Hacktivism. Net Art in spirit, has

never really been just about art being viewed on a web browser alone. Some of the very same artists

whose artwork involved being shown in browsers and making code behind the browser as part of

the art, have also expanded their practice outside of the browser. One such artist is Danja Vasiliev,

"Fifteen years ago WWW was something very new in Russia and besides the new dial-up aesthetics

and world-wide means it brought a complete new layer of existence - "netosphere", which made my

youth." Vasiliev very soon moved on from playing with browsers into a whole new territory. [12]

Danja co-founded media-lab moddr_in 2007, a joint project at Piet Zwart Institute alumni and

WORM Foundation. Based in Rotterdam moddr_is a place for artists and hackers, engaging with

critical forms of media-art practice. He collaborated withGordan Savicic and Walter Langelaar

from the moddr.net lab on the project Web 2.0 Suicide Machine, which lets you delete your social

networking profiles and kill your virtual friends, and it also deletes your own profile leaving yourprofile image replaced by a noose."The idea of the "Web 2.0 Suicide Machine" is to abandon your
http://k0a1a.net/http://k0a1a.net/http://moddr.net/http://pzwart.wdka.nl/networked-media/category/study-programme/students-alumnihttp://worm.org/http://www.yugo.at/processing/http://www.yugo.at/processing/http://lowstandart.net/http://suicidemachine.org/http://suicidemachine.org/http://moddr.net/http://pzwart.wdka.nl/networked-media/category/study-programme/students-alumnihttp://worm.org/http://www.yugo.at/processing/http://lowstandart.net/http://suicidemachine.org/http://k0a1a.net/


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virtual life so you can get your actual life back, Gordan Savicic tells NPR's Mary Louise Kelly.

Savicic is the CEO which he says stands for "chief euthanasia officer" of

SuicideMachine.org." [13]

Just like another project called 'Face to facebook' that stole 1 million facebook profiles and re-

contextualized them on a custom made dating website (lovely-faces.com), set up by Italian artists

Paolo Cirio and Alessandro Ludovico, whom also just so happens to be editor in chief ofNeural

magazine. Web 2.0 Suicide Machine, had to close its connections down regarding its Facebook

activities after receiving a cease and decease letter from Facebook. [14]

Julian Oliverand Danja Vasiliev teamed up and formed the mysterious group Men in Grey. The

Men In Grey explore our online vulnerabilities by tapping into, intervening into wireless network

traffic. Observing, tracing and copying what we do. This hack then redisplays our activities back to

us, showing the data of our online interactions.

At first no one (except myself & a few others) knew who they were. When they first arrived on the

scene I started an interview with them and then suddenly, I was asked to hold back due to their

antics on the Internet and interventions in public environments receiving much coverage. They were

not sure how it would pan out for them. Partly due to the anonymous nature of their project, and

also because of the sudden impact of the larger hacktivist group Anonymous getting much press in

commercial media themselves.
http://www.paolocirio.net/http://www.labforculture.org/en/resources-for-research/contents/research-in-focus/cultural-blogging-in-europe/interview-with-alessandro-ludovico-neural-ithttp://neural.it/http://neural.it/http://julianoliver.com/http://meningrey.net/http://en.wikipedia.org/wiki/Anonymous_(group)http://www.paolocirio.net/http://www.labforculture.org/en/resources-for-research/contents/research-in-focus/cultural-blogging-in-europe/interview-with-alessandro-ludovico-neural-ithttp://neural.it/http://neural.it/http://julianoliver.com/http://meningrey.net/http://en.wikipedia.org/wiki/Anonymous_(group)


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"Men In Grey emerge as a manifestation of Network Anxiety, a fearful apparition in a

time of government wiretaps, Facebook spies, Google caches, Internet filters and

mandatory ISP logging." M.I.G

"Spooks are listening into calls, just like they always have," said Eric King of London's

Privacy International, in an e-mail. "With A5/1 being brokenyou can decrypt and

listen into 60 calls at once with a box smaller than a laptop." [15]

Later they won the Golden Nica (1st prize) Interactive Arts category, Prix Ars Electronica in 2011.

In a show called Project Space -- M.I.G. -- Display of unknown, quarantined equipmenthosted at

the Aksioma Project Space Komenskega, Ljubljana 2011. The statement read:

"The particularly threatening quality of the Men In Grey equipment is its apparentlyinvasive nature; it seems able to penetrate and even hack into virtually any

electronic device in its reach. While we are all aware of the wire-tapping and data

retention done by the government (along with the spying carried out by corporations

like Facebook and Google), Men In Grey seem to operate with a range of tools and

techniques well beyond those that are currently known to be in use."

Image taken from the Men in Grey Video. 'H1606: Field Officer Protocol'.
http://www.aksioma.org/mig/index.htmlhttp://www.aksioma.org/mig/index.htmlhttp://www.aksioma.org/mig/index.html


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Hacktivism involves many different levels of social intervention and engagement. Whether it is to

do with direct action, self-referential geekiness, obscure networked antics, crtical gaming, or peer 2

peer and collective change. Hacktivists challenge defaults put in place by other people, usually the

systms imposed upon them and the rest of us by authority. Even though the subjects themselves

may be concerning serious matters, humour and playfulness are both essential ingredients.

"A promising tactic for the early Situationists was the unpredictable yet forceful

potential of play what anthropologist Victor Turner termed the "liminoid," or the

freeing and transformational, moments of play when the normal roles and rules of a

community or society are relaxed." [16] Dovey & Kennedy.

One group crossing over from the digital into physical and social realms, isTiltfactor. [17] Their

form of intervention is not necessarily about causing political controversy, but is engaged inreaching people through games of play. Experimenting with social everyday contexts, making

games that tackle less traditional topics, such as public health, layoffs,GMO crops. One of the

many games creating awareness on these subjects, is POX"Our game actually helps a player

understand how a disease can spread from one place to another and how an outbreak might happen"

says Mary Flanagan. [18]

A local public health group called Mascoma Valley Health in the New Hampshire region of the US

approached Tiltfactor with the problem of the lack of immunization. "At first, a game about gettingpeople immunized seemed like one of the most "un-fun" concepts imaginable. But that sinking

feeling of impossibility almost always leads to good ideas later." [19] Flanagan.
http://www.tiltfactor.org/http://www.tiltfactor.org/http://www.tiltfactor.org/play-layoffhttp://www.tiltfactor.org/profit-seedhttp://www.tiltfactor.org/profit-seedhttp://www.tiltfactor.org/poxhttp://www.tiltfactor.org/poxhttp://www.mvhi.org/http://www.tiltfactor.org/http://www.tiltfactor.org/play-layoffhttp://www.tiltfactor.org/profit-seedhttp://www.tiltfactor.org/poxhttp://www.mvhi.org/


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"Geopolitical space has always been a conflicted and fragile topic. Borders and

frontiers are changing so fast, that sometimes it seems that our sociopolitical status can

change from citizen to immigrant from one moment to another, or simply live

under the immigrant status all your life. Were getting used to words like refugees,

enclaves, war, borders, limits and the list has no end." Ethel Baraona Pohl & Csar

Reyes

The Transborder Immigrant Tool (TBT).

Ricardo Dominguez collaborated with Brett Stalbaum, Micha Cardenas, Amy Sara Carroll & Elle

Mehrmand, on (TBT) (and others), on a hand-held mobile phone device that aids crossers of the

Mexico-US border. An inexpensive tool to support the finding of water caches left in the Southern

California desert by NGOs for those crossing the border.

"The entire group of artists who are part ofElectronic Disturbance Theater 2.0/b.a.n.g. labworking

on the Transborder Immigrant Tool (TBT) was being investigated by UCSD and 3 Republican

Congressmen starting on January 11, 2010. Then I came under investigation for the virtual sit-in

performance (which joined communities statewide against the rising students fees in the UC system

and the dismantling of educational support for K12 across California) against the UC Office of the
http://bang.calit2.net/category/electronic-disturbance-theater/http://bang.calit2.net/category/electronic-disturbance-theater/http://bang.calit2.net/category/electronic-disturbance-theater/


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President (UCOP) on March 4, 2010. This was then followed by an investigation by the FBI Office

of Cybercrimes." [20] Ricardo Dominguez.

Billboard campaign, design by Ricardo Dominguez & Amy Sara Carroll

In an interview with Lawrence Bird Dominguez discusses that the TBT is still developing as a gps

tool, but infers that it is not just a tool but also 'border disturbance art', consisting of different

nuances existing as part of a whole with other factors at play. Such as a hybrid mix of things,

objects and expressions "artivism, tactical poetries, hacktivism(s), new media theater, border

disturbance art/technologies, augmented realities, speculative cartographies, queer technologies,transnational feminisms and code, digital Zapatismo, dislocative gps, intergalactic performances,

[add your own______]." [ibid]


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BorderXing Guide by Heath Bunting

"Borders are there to be crossed. Their significance becomes obvious only when they are violated

and it says quite a lot about a societys political and social climate when one sees what kind of

border crossing a government tries to prevent." [21] Florian Schneider

Heath Bunting and collaborators crossing the Rhine river on self-made raft, Germany

National borders are front-lines of political and social friction. The exerience of asylum-seekers and

political migrants reflect some of the most significant issues of our time. Immigration is a toxic

issue and unpopular with voters. Bunting's BorderXing Guide, plays on the fear of invisible alien

hordes of people crossing our borders illegally.

The context of this work fits well with issues about borders, whether it is about creating borders

online or physical environments. Only those needing to cross a border are allowed access to the site,

it is limited to social clients who have a static IP (Internet Protocol) address and who, most

notably, have gained the artists confidence. Such as peer activists and immigrants using libraries,

colleges, cultural centres. The site allows those who would other wise end up crossing borders in

harmful ways, such as in containers, on the backs of (and underneath) lorries and planes.
http://irational.org/borderxing/open/http://irational.org/borderxing/open/


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Heath Bunting's BorderXing Guide website primarily consists of documentation of walks that

traverse national boundaries, without interruption from customs, immigration, or border police. The

work comments on the way in which movement between borders is restricted by governments and

associated bureaucracies. It is a manual written not at distance like a google map, but by foot. A

physical investigation, involving actually going to these places; trying these discovered routes out

and then sharing them with others. A carefully calculated politics of public relations.

BorderXing Guide: map of journey from Krmend to Gssing. Heath Bunting.


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Kate Rich and Feral Trade

"The Feral Trade Caf is more than just an art space thats a working caf, its about provoking

people to question the way big food corporations operate by looking at the journey of the food we

end up scraping into our pampered bins." [22] Gastrogeek

Feral Trade uses social and cultural hand baggage to transport food based items between cities,

often using other artists and curators as mules. Feral Trade products (2003-present), alongside

ingredient route maps, bespoke food packaging, video and other artefacts from the Feral Trade

network. The goods rangefrom coffee from El Salvador, hot chocolate from Mexico and sweets

from Montenegro, as well as locally sourced bread, vegetables and herbs.

Kate Rich uses the word 'feral' as a process referiing to being deliberately wild, as in pigeon, as

opposed to romantic nature wild as the wolf. It is an unruly wild, shitting everywhere, disruption

and annoyance in contrast to 'official' human structures and connected infrastructures. Feral Trade

freight operates largely outside commercial channels, using the surplus potential of social, cultural

and data networks for the distribution of goods. Working with co-operatives, small growers andfood producers.


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The Feral Trade Courier is a live shipping database for a freight network running outside

commercial systems. The database offers dedicated tracking of feral trade products in circulation,

archives every shipment and generates freight documents on the fly.

Feral Trade atFurtherfield's Gallery (2009) [23]


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Every shipment is different and has its own story of how and where it was delivered from. Also

included is information on who the carriers are with details about producers and their local culture

as contextual information. The product packaging itself is also a carrier of information about social,

political context and discussions with producers and carriers.

Conclusion

Since the rise of the Internet individual and collective actions are symbiotically connected to the

every day. In a world transformed, common people have access to tools that can change 'our'

cultures independently; sharing information, motivating actions and changing situations. We know

of the Arab Spring, the Occupy movement, Anonymous and Wikileaks and how successful they

have been in exploiting technology and social networks. Technology just like any other medium is a

flexible material. By tweaking, breaking and remaking 'something' you can re-root it's function,

change its purpose.

The links between these mass social movements and the artists here are not just relating to

technology's use but, a shared critique at the same enemy, neo-liberalism.

""Neo-liberalism" is a set of economic policies that have become widespread during the last 25years or so. Although the word is rarely heard in the United States, you can clearly see the effects of

neo-liberalism here as the rich grow richer and the poor grow poorer." [24] Martinez & Garcia.

At the same time as highlighting the continual privatization of human society. This form of art

practice shows us the cracks of where a social divide of gate-keeping has maintained power within

the Western World's, traditional art structures. We now realize that the art canons we have been

taught to rely on as reference are more based around privelage, centralization and market

dominance rather than democratic representation or even just pure talent. Hacktivist artists adaptand recontextualize with a critical approach, towards a larger and more inclusive context beyond

their own immediate selves. Demonstrating a respect and use of autonomy, and an awareness of

social contexts and political nuances, freeing up dialogue for new discussions which include a

recognition of social contexts, as a vital ingredient and valued resource in art. Re-aligning,

reconfiguring the defaults of what art is today.


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References

[1] This is the imposition everywhere, in the upper spheres of the economy and the state as at the

heart of corporations, of that sort of moral Darwinism that, with the cult of the winner, schooled in

higher mathematics and bungee jumping, institutes the struggle of all against all and cynicism as the

norm of all action and behaviour. Bourdieu.

[2] Richard Stallman. American software freedom activist and computer programmer. In September

1983, he launched the GNU Project to create a free Unix-like operating system, and he has been the

project's lead architect and organizer. With the launch of the GNU Project, he initiated the free

software movement; in October 1985 he founded the Free Software Foundation.

http://en.wikipedia.org/wiki/Richard_Stallman

[3] GNU Operating System. http://www.gnu.org/

[4] On hacking by Richard Stallman. http://www.stallman.org/articles/on-hacking.html#cracker

[5] Steven Levy. Wired Senior Writer, and author of Hackers, In the Plex, and other books.

http://www.stevenlevy.com/

[6] Steven Levy. Hackers Heroes of the Computer Revolution. 25th anniversary edition published

by OReilly. http://www.stevenlevy.com/index.php/books/hackers

[7] The Jargon File. (version 4.4.7). The Jargon File, a comprehensive compendium of hacker slang

illuminating many aspects of hackish tradition, folklore, and humor. Eric Raymond.

http://catb.org/jargon/html/index.html

(Also view - cracking. http://catb.org/jargon/html/C/cracking.html)

[8] File: archives/7/p7_0x03_Hacker's Manifesto_by_The Mentor.txt ==Phrack Inc.== Volume

One, Issue 7, Phile 3 of 10. http://www.phrack.org/issues.html?issue=7&id=3&mode=txt

(PHRACK MAGAZINE is one of the longest running electronic magazines in existence. Since

1985, PHRACK MAGAZINE has been providing the hacker community with information on

operating systems, network technologies and telephony, as well as relaying features of interest for

the international computer underground. PHRACK MAGAZINE is made available to the public, as
http://www.gnu.org/http://www.stallman.org/articles/on-hacking.html#crackerhttp://www.stevenlevy.com/http://www.stevenlevy.com/index.php/books/hackershttp://catb.org/jargon/html/index.htmlhttp://catb.org/jargon/html/C/cracking.htmlhttp://www.phrack.org/issues.html?issue=7&id=3&mode=txthttp://www.gnu.org/http://www.stallman.org/articles/on-hacking.html#crackerhttp://www.stevenlevy.com/http://www.stevenlevy.com/index.php/books/hackershttp://catb.org/jargon/html/index.htmlhttp://catb.org/jargon/html/C/cracking.htmlhttp://www.phrack.org/issues.html?issue=7&id=3&mode=txt


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often as possible, free of charge.)

[9] Based in Lubbock, Texas, CULT OF THE DEAD COW (cDc) is the most-accomplished and

longest-running group in the computer underground. Founded in 1984 and widely considered to be

the most elite people to ever walk the face of the earth, this think tank has been referred to as both

"a bunch of sickos" (Geraldo Rivera) and "the sexiest group of computer hackers there ever was"

(Jane Pratt, _Sassy_ and _Jane_ magazines). The cDc is a leading developer of Internet privacy and

security tools, which are all free to the public. In addition, the cDc created the first electronic

publication, which is still going strong.

http://w3.cultdeadcow.com/cms/

[10] metac0m (Dec 2003) Copyleft TheHacktivist.com

[11] 'Hacktivists' of All Persuasions Take Their Struggle to the Web. Amy Harmon.

http://www.nytimes.com/1998/10/31/world/hacktivists-of-all-persuasions-take-their-struggle-to-the-

web.html?pagewanted=all

[12] An Interview with Danja Vasiliev. By Marc Garrett (2010).

http://www.furtherfield.org/interviews/interview-danja-vasiliev

[13] Web 2.0 Suicide Machine: Erase Your Virtual Life.

http://www.npr.org/templates/story/story.php?storyId=122379695

[14] Facebook cease and decease letter Web 2.0 Suicide.

http://suicidemachine.org/download/Web_2.0_Suicide_Machine.pdf.

[15] From encryption to darknets: As governments snoop, activists fight back. By Cyrus Farivar

http://arstechnica.com/business/the-networked-society/2012/02/from-encryption-to-darknets-as-

governments-snoop-activists-fight-back.ars

[16] Jon Dovey and Hellen W. Kennedy, Game Cultures (London: Open University Press, 2006).

[17] Tiltfactor instigates, provokes, and inspires change. Our lab is home to many research projects

which creatively disrupt the norm by using an approach we call critical play.

http://www.tiltfactor.org/
http://w3.cultdeadcow.com/cms/http://www.nytimes.com/1998/10/31/world/hacktivists-of-all-persuasions-take-their-struggle-to-the-web.html?pagewanted=allhttp://www.nytimes.com/1998/10/31/world/hacktivists-of-all-persuasions-take-their-struggle-to-the-web.html?pagewanted=allhttp://www.furtherfield.org/interviews/interview-danja-vasilievhttp://www.npr.org/templates/story/story.php?storyId=122379695http://suicidemachine.org/download/Web_2.0_Suicide_Machine.pdfhttp://arstechnica.com/business/the-networked-society/2012/02/from-encryption-to-darknets-as-governments-snoop-activists-fight-back.arshttp://arstechnica.com/business/the-networked-society/2012/02/from-encryption-to-darknets-as-governments-snoop-activists-fight-back.arshttp://www.tiltfactor.org/http://w3.cultdeadcow.com/cms/http://www.nytimes.com/1998/10/31/world/hacktivists-of-all-persuasions-take-their-struggle-to-the-web.html?pagewanted=allhttp://www.nytimes.com/1998/10/31/world/hacktivists-of-all-persuasions-take-their-struggle-to-the-web.html?pagewanted=allhttp://www.furtherfield.org/interviews/interview-danja-vasilievhttp://www.npr.org/templates/story/story.php?storyId=122379695http://suicidemachine.org/download/Web_2.0_Suicide_Machine.pdfhttp://arstechnica.com/business/the-networked-society/2012/02/from-encryption-to-darknets-as-governments-snoop-activists-fight-back.arshttp://arstechnica.com/business/the-networked-society/2012/02/from-encryption-to-darknets-as-governments-snoop-activists-fight-back.arshttp://www.tiltfactor.org/


19/19

[18] Interview with Mary Flanagan. Game Developed at Dartmouth Helps Players Understand

Infectious Disease Control By Bonnie Barber.

http://now.dartmouth.edu/2011/04/game-developed-at-dartmouth-helps-players-understand-

infectious-disease-control/

[19] Pox: Save the People. An interview with Mary Flanagan. By Emilie Giles. 2011.

http://www.furtherfield.org/features/interviews/pox-save-people-interview-mary-flanagan

[20] Global Positioning: An Interview with Ricardo Dominguez. By Lawrence Bird. 2011

http://www.furtherfield.org/features/interviews/global-positioning-interview-ricardo-dominguez

[21] Reverse Authentification June 2002. Florian Schneider

http://www2.tate.org.uk/intermediaart/entry15468.shtm

[22] Article. Wasted again by Gastrogeek about The Feral Trade Caf

http://gastrogeek.wordpress.com/2009/07/29/wasted-again

[23] Feral Trade Caf at HTTP Gallery (Furtherfield Gallery) Summer 2009.

http://www.furtherfield.org/exhibitions/feral-trade-cafe

[24] ""Neo-liberalism" is a set of economic policies that have become widespread during the last 25

years or so. Although the word is rarely heard in the United States, you can clearly see the effects of

neo-liberalism here as the rich grow richer and the poor grow poorer."

Post-political Attitudes on Immigration, Utopias and the Space Between Us by Ethel Baraona Pohl

& Csar Reyes. On 'The Funambulist architectural narratives' website

http://thefunambulist.net

Notes: This article was published on Furthefield Sat 10th March 2012.

http://www.furtherfield.org/features/articles/revisiting-curious-world-art-hacktivism

If you wish to use any of this information please contact me at [email protected]
http://now.dartmouth.edu/2011/04/game-developed-at-dartmouth-helps-players-understand-infectious-disease-control/http://now.dartmouth.edu/2011/04/game-developed-at-dartmouth-helps-players-understand-infectious-disease-control/http://www.furtherfield.org/features/interviews/pox-save-people-interview-mary-flanaganhttp://www.furtherfield.org/features/interviews/global-positioning-interview-ricardo-dominguezhttp://www2.tate.org.uk/intermediaart/entry15468.shtmhttp://gastrogeek.wordpress.com/2009/07/29/wasted-againhttp://www.furtherfield.org/exhibitions/feral-trade-cafehttp://thefunambulist.net/http://www.furtherfield.org/features/articles/revisiting-curious-world-art-hacktivismhttp://now.dartmouth.edu/2011/04/game-developed-at-dartmouth-helps-players-understand-infectious-disease-control/http://now.dartmouth.edu/2011/04/game-developed-at-dartmouth-helps-players-understand-infectious-disease-control/http://www.furtherfield.org/features/interviews/pox-save-people-interview-mary-flanaganhttp://www.furtherfield.org/features/interviews/global-positioning-interview-ricardo-dominguezhttp://www2.tate.org.uk/intermediaart/entry15468.shtmhttp://gastrogeek.wordpress.com/2009/07/29/wasted-againhttp://www.furtherfield.org/exhibitions/feral-trade-cafehttp://thefunambulist.net/http://www.furtherfield.org/features/articles/revisiting-curious-world-art-hacktivism

Documents

Revisiting the Curious World of Art Hacktivism