tactics in Medak, Mars & WHW 2015


enforce the old rules of property. Here the culture industries join hands with the
drug cartels and other kinds of information-based
industry to limit the free flow of information.
But laws are there to be broken, and so are protocols of restriction such as encryption. These were
only ever delaying tactics, meant to shore up old
monopoly business for a bit longer. The battle to
free information was the battle that the forces of
détournement largely won. Our defeat lay elsewhere.
While the old culture industries tried to put information back into the property form, there were
other kinds of strategy a


ir actions are reactions to our initiatives. In this sense the autonomists are right, only
it was not so much the actions of the working class
to which the ruling class had to respond in this case,
as what I call the hacker class. They had to recuperate a whole social movement, and they did. So our
tactics have to change.
In the past we were acting like data-punks. Not
so much “here’s three chords, now form your band.”
More like: “Here’s three gigs, now go form your autonomous art collective.” The new tactic might be
more question of being metadata-punks. On the one
hand, it is about freei


ce, Monoskop has wiki pages, some
better than Wikipedia, which contextualize the work
of a given artist or movement. UbuWeb offers “top
ten” lists by artists or scholars which give insight
not only into the collection but into the work of the
person making the selection.
Monoskop and UbuWeb are tactics for intervening in three kinds of practices, those of the artworld, of publishing and of scholarship. They respond to the current institutional, technical and
political-economic constraints of all three. As it
says in the Communist Manifesto, the forces for social change are those that ask the prope

 

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