REFF RomaEuropa FakeFactory (2010) [Italian]
Filed under augmented book | Tags: · augmented reality, commons, cultural politics, information aesthetics, innovation, intellectual property, mashup, reenactment, remix
The reinvention of the real through critical practices of remix, mash-up, re-contextualization, reenactment
Romaeuropa FakeFactory is an act of artistic and technological hacking, a platform for global discussion and a performance that, beginning in 2009, has dealt with the themes of active, critical and creative innovation, confronting the management of cultural and technological policies related to these areas. The story begins with the opening of the Romaeuropa WebFactory, a digital art competition launched in 2008 by the Romaeuropa Foundation (Fondazione Romaeuropa) and Telecom Italia. Oppressive copyright conditions, such as the unilateral transfer of the rights to the works submitted and a ban on the use of techniques like mashup, cutup, remix but conversely giving the Romaeuropa Foundation and Telecom Italia the right to remix the works, inspired the creation of a Fake capable of becoming a point for multi-disciplinary analysis of the possibilities offered by freely available knowledge, contents and resources: a chance to reverse the logic of the competition and bring to light the contradictions, limits and implications of such a typical, reactionary cultural policy.
“Remix the world! Reinvent Reality!” is one of the principal themes that has inspired the REFF, from an act of détournement and cybersquatting – that brought to life the creation of a remix skills competition determining in 2009 a reversal of the Romaeuropa Foundation and Telecom Italia’s policy on the management of intellectual property rights – to the presentation of REFF’s instances and methodologies to the Cultural Commission of the Italian Senate (Commissione Cultura del Senato della Repubblica Italiana), up to the current production of the REFF book, as a global effort to create a working business model that implements the concepts and demands expressed by the RomaEuropa FakeFactory. Supporters of the REFF are found all over the world: over 80 partners among universities, artists, academies, associations, hackers, researchers, designers, journalists, politicians, magazines, networks, activitst, art critics, architects, musicians and entrepreneurs together with all the people who share a belief that art, design and new technologies can unite towards a critical, yet positive vision of a world that can create new opportunities and new ways of being, collaborating and communicating.
English version to be published soon.
Authors
Publisher (Fake Press)
Publisher (Derive Approdi)
Foreword by: Bruce Sterling
Edited and produced by FakePress and Derive&Approdi
Licensed under Creative Commons Attribution-NonCommercial ShareAlike 2.5 Italy.
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Fibreculture Journal 1-15 (2003-2009)
Filed under journal | Tags: · convergence, creative industries, distributed aesthetics, education, innovation, internet, labour, media, media art, media culture, mobility, networks, new media, new media art, remix, research, web 2.0
Fibreculture Journal is a peer reviewed international journal that explores the issues and ideas of concern and interest to both the Fibreculture network and wider social formations. The journal encourages critical and speculative interventions in the debate and discussions concerning information and communication technologies and their policy frameworks, network cultures and their informational logic, new media forms and their deployment, and the possibilities of socio-technical invention and sustainability. Other broad topics of interest include the cultural contexts, philosophy and politics of information and creative industries; national and international strategies for innovation, research and development; education; media and culture, and new media arts.
What Now? : The Imprecise and Disagreeable Aesthetics of Remix
Fibreculture 15, 2009
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Web 2.0: Before, During and After the Event
Fibreculture 14, 2009
Edited by Darren Tofts and Christian McCrea
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After Convergence: What Connects?
Fibreculture 13, 2008
Edited by Caroline Bassett, Maren Hartmann, Kate O’Riordan
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Models, Metamodels and Contemporary Media
Fibreculture 12, 2008
Edited by Gary Genosko and Andrew Murphie
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The Futures of Digital Media Arts and Culture
Fibreculture 11, 2008
Edited by Andrew Hutchison and Ingrid Richardson
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New Media, Networks and New Pedagogies
Fibreculture 10, 2007
Edited by Adrian Miles
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General Issue
Fibreculture 9, 2006
Edited by Andrew Murphie
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Gaming Networks
Fibreculture 8, 2006
Edited by Chris Chesher, Alice Crawford and Julian Kücklich
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Distributed Aesthetics
Fibreculture 7, 2005
Edited by Lisa Gye, Anna Munster and Ingrid Richardson
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Mobility, New Social Intensities, and the Coordinates of Digital Networks
Fibreculture 6, 2005
Edited by Andrew Murphie, Larissa Hjorth, Gillian Fuller and Sandra Buckley
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Multitudes, Creative Organisation and the Precarious Condition of New Media Labour
Fibreculture 5, 2005
Edited by Brett Neilson and Ned Rossiter
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Contagion and the Diseases of Information
Fibreculture 4, 2005
Edited by Andrew Goffey
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General Issue
Fibreculture 3, 2004
Edited by Andrew Murphie
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New Media, New Worlds?
Fibreculture 2, 2003
Edited by Andrew Murphie
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The Politics of Networks
Fibreculture 1, 2003
Edited by Andrew Murphie
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Fibreculture Journal: Internet theory + criticism + research
Publisher: Fibreculture Publications/Open Humanities Press, Australia
ISSN: 1449 – 1443
Otto Von Busch, Karl Palmas: Abstract Hacktivism: The Making of a Hacker Culture (2006)
Filed under book | Tags: · activism, design, hacktivism, innovation, politics, technology
In recent years, designers, activists and businesspeople have started to navigate their social worlds on the basis of concepts derived from the world of computers and new media technologies. According to Otto von Busch and Karl Palmas, this represents a fundamental cultural shift. The conceptual models of modern social thought, as well as the ones emanating from the 1968 revolts, are being usurped by a new worldview. Using thinkers such as Michel Serres, Gilles Deleuze and Manuel DeLanda as a point of departure, the authors expand upon the idea that everyday technologies are profoundly interconnected with dominant modes of thought.
In the nineteenth century, the motor replaced the clockwork as the universal model of knowledge. In a similar vein, new media technologies are currently replacing the motor as the dominant ‘conceptual technology’ of contemporary social thought. This development, von Busch and Palmas argue, has yielded new ways of construing politics, activism and innovation.
The authors embark on different routes to explore this shift. Otto von Busch relates the practice of hacking to phenomena such as shopdropping, craftivism, fan fiction, liberation theology, and Spanish social movement YOMANGO. Karl Palmas examines how publications like Adbusters Magazine, as well as business theorists, have adopted a computer-inspired worldview, linking this development to the dot.com boom of the late 1990s. Hence, the text is written for designers and activists, as well as for the general reader interested in cultural studies.
Publisher Openmute, 2006
London and Istanbul
ISBN 0955479622, 9780955479625
Length 132 pages
copyleft by the authors