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"Tactical Media are what happens when the cheap 'do it yourself' media, made
possible by the revolution in consumer electronics and expanded forms of
distribution (from public access cable to the internet) are exploited by groups
and individuals who feel aggrieved by or excluded from the wider culture."
David Garcia and Geert Lovink. "The ABC of Tactical Media." May 16, 1997.
http://www.nettime.org/Lists-Archives/nettime-l-9705/msg00096.html
"The Meaning of �Hack�.", The Jargon File, version 4.4.7. December 29, 2003.
http://catb.org/jargon/html/meaning-of-hack.html
"The hacker code of ethics discourages any act of disturbance in cyberspace. Even
the Legion of Doom (a group of young hackers that put the fear into the Secret
Service) claims to have never damaged a system. Their activities were motivated by
curiosity about computer systems, and belief in free access to information. Beyond
these very focused concerns with decentralized information, political thought or
action has never really entered the group's consciousness. Any trouble that they
have had with the law (and only a few members break the law) stemmed either from
credit fraud or electronic trespass. The problem is much the same as politicizing
scientists whose research leads to weapons development. It must be asked, How can
this class be asked to destabilize or crash its own world?"
"During recent times and most strongly because of the wider effects of specific
acts of repression, hacking itself has often become less able to get things going
because it has (a) been driven more underground, (b) been offered more jobs, and
(c) been less imaginatively willing or able to ally itself with other social
currents."
"Biennale.py is the first computer virus ever written employing the Python
programming language, and one of the few, if not the only one, whose name is
written at the same time in the Computer Science and Art History books. The virus
stresses its "aesthetic qualities" through the beauty of its own source code, a
"love poem" being an integral part of its executing code. �We've chosen Python -
says Massimo, Epidemic spokesman - exactly for the possibility to give any name to
the variables, in practice you can write software with your own words�."
"cracker: n. One who breaks security on a system. Coined ca. 1985 by hackers in
defense against journalistic misuse of hacker"
"Though crackers often call themselves �hackers�, they aren't (they typically have
neither significant programming ability, nor Internet expertise, nor experience
with UNIX or other true multi-user systems). Their vocabulary has little overlap
with hackerdom's, and hackers regard them with varying degrees of contempt."
"Crackers, Phreaks, and Lamers.", The Jargon File, version 4.4.7. December 29,
2003.
http://catb.org/jargon/html/meaning-of-hack.html
"As the Internet was coming into its own, during the early 1980s, hackers that
didn't want their websites, newsgroups, etc, to be picked up in a simple keyword
search began using numbers to replace certain letters (mostly vowels) such as A =
4 or E = 3 ... There is no agreed-upon way to write l33t, so it's up to you
whether or not to go with light l33t, medium 1337, hard |_337 or even ultra |_33�|
�."
The proposal for "dirty new media" that we articulate (in various languages and
affectations including l33t) is an attempt to play rather than render illegible.
We want to resist clean code. Dirtiness prevents simple reductive indexing because
it destabilizes indexicality, introducing and embraces noise.
Chicago is currently home to various noise projects that cross borders between New
Media Art, hacking, cracking and experimental musics. I Love Presets, one such
project, specifically inspires and enables these conversations to continue through
events such as r4WB1t5, Hackmeetings and spaces such as dai5ychain, Busker and the
Flowershop... I Love Presets, the collaborative project of Rob Ray, jon.satrom and
Jason Soliday imagines itself as systems crash:
"I Love Presets combine the sound of a semi-truck falling off the sunset, a
scratched up hip-hop album kissing an outlet and the sound of an angry life guard
at the boom-box swimming-pool. Audio and video collide head on to open the
timespace rift spewing forth sonic mirth and visual delight. Where else have you
seen a 16 color rainbow explode?"
Blake Edwards, who performs and organizes experimental noise events, describes I
Love Presets as "local video and sound corruption". (2) In the same document
Edwards contextualizes his own collaborative experimental projects as 'punk'. A
connectivity is present in Chicago between Punk, Industrial, Experimental,
Electronic, House, Jazz, Improvisation and Noise musics. The messy, dirty, impure
and corrupted connections include DIY strategies, digital punk approaches,
hardware hacking, circuit bending and artistic misuse or recoding of software
systems by artists/musicians.
"The concept of DIY is less relevant to networked youth culture today as it was
when we grew up (with movements like Hardcore). DIT - Do It Together - which finds
it's roots in the Open Source movement's model of production, is a far more
relevant paradigm today."
Coco Fusco. "Questioning the Frame." December 16, 2004. In These Times.
http://www.inthesetimes.com/site/main/article/1750
In Chicago we have Media Art hystories of Free Culture and experimentation such as
the Copy-It-Right approach of Phil Morton, the 'first copier' of Dan Sandin's
Image Processor. The Sandin Image Processor, an analog computer or artware system
built from 1971 to 1973, offered artists unprecedented abilities to create,
process and affect realtime video and audio, enabling performances that literally
set the stage for current praxis. (3) The proto Open Source license developed by
Sandin and Morton for the Distribution Religion, the technical plans for building
copies of a Sandin Image Processor, anticipated many artists' current approaches
to Free and Open Source Software development, distribution methods and DIT
collaborations.
"First, it�s okay to copy! Believe in the process of copying as much as you can;
with all your heart is a good place to start - get into it as straight and
honestly as possible. Copying is as good (I think better from this vector-view) as
any other way of getting �there.�
"On the one hand information wants to be expensive, because it's so valuable. The
right information in the right place just changes your life. On the other hand,
information wants to be free, because the cost of getting it out is getting lower
and lower all the time. So you have these two fighting against each other."
This quote is not usually mobilized in a manner that would articulate a complexity
of readings. Normalized usage of 'information wants to be free', is symptomatic
flag waving of an iconic banner in the overlapping communities we are interfacing
in this text. The original analytical sentiment of the quote, a quote which was
and is a 2 sided statement, describes a conflictual tension in the manner in which
'information' could work or move socially in economies of use and distribution.
Imagine an identity construction called Art Hacker, who is not a Hacker Artist.
Imagine developing an Art or Artware of Hacking Art Operating Systems...
"As far as sociological theories on art and hacking go, I�ve come increasingly to
the conclusion over the last four, five years in which I have been involved in
hacking, that hack culture always has something bordering on a national�(laughter)
flavor. That�s why it is interesting for me to visit other countries and
especially Italy, where it appears as if there does not exist the slightest fear
of contact between artists, activists, philosophers etc. They coexist there
naturally, dialogue with each other and create a common language in which they can
communicate (laughter), which is something I haven�t experienced in Germany. As a
female artist in the Chaos Computer Club, I have come face to face with some of
the worse preconceptions, accusations and verbal abuse of my life
(unfortunately)."
Imagine an identity construction called Art Cracker, who is not a Cracker Artist.
We are developing an Art or Artware of Cracking Art Operating Systems...
Translated through dirty New Media noise and the 1337 we speak, this identity
becomes an 4Rt cR4x0R and this conversation continues to be cracked open together
as an ongoing discursive project at: http://4RtcR4x0Rz.com