The act of creation requires us to remix existing cultural content and yet recent sweeping changes to copyright laws have criminalized the creative act as a violation of corporate rights in a commodified world. Copyright was originally designed to protect publishers, not authors, and has now gained a stranglehold on our ability to transport, read, write, teach and publish digital materials.
Contrasting Western models with issues of piracy as practiced in Asia, Digital Prohibition explores the concept of authorship as a capitalist institution and posits the Marxist idea of the multitude (à la Antonio Negri and Michael Hardt, and Paulo Virno) as a new collaborative model for creation in the digital age. Looking at how digital culture has transformed unitary authorship from its book-bound parameters into a collective and dispersed endeavor, Dr. Guertin examines process-based forms as diverse as blogs, Facebook, Twitter, performance art, immersive environments, smart mobs, hacktivism, tactical media, machinima, generative computer games (like Spore and The Sims) and augmented reality.
Text and Image via Bloomsbury
Motherboard‘s documentary on Occupy Wall Street, hacktivism, and the hackers trying to build a distributed network for the Occupy movement and beyond.
Neural: This is the third anthology after “Do Androids Sleep with Electric Sheep?” and “Pr0nnovation?: Pornography and Technological Innovation” to expand on and “archive” an edition of the Arse Elektronika festival. The event, which takes place each year in San Francisco, was, initiated and fostered as a conference by Johannes Grenzfurthner. The founder’s legacy is very clear in the heterogeneous selection of texts and projects included here, reflecting his remarkable work with the “monochrom” fanzine. In fact, the book includes an amazing number of stimulating and often disturbing ideas related to fringe world of sex and technology, which deeply questions what the editors refer to as the “heterosexist matrix” (in this sense it also fits well into the RE/Search back catalogue). Concepts are expressed via academic papers, interviews, panels transcriptions, underground science fiction, artwork documentation, and instructions on how to build electronic Do-It-Yourself sex toys (for example the “Steampunk Vibrator”, the “Joydick” and the “Pussypad”). The book opens windows onto a series of rare yet serious contexts that make the reader feel temporally dislocated; uncertain about when the scenarios described may actualize. The hybrid nature of this work doesn’t make it a bizarre object, but rather a useful compendium for exploring what bodies and desires mean in a stretched contemporaneity, with no room for prejudices and with many new possible paths to take.