Domains, Publics and Access - User contributions [en]

3de3.mx

2021-10-07T21:43:56Z

Paz:

probando probando

''Iniciativa que busca reconstruir la confianza ciudadana a través del compromiso y transformación de la clase política en nuestro país: funcionarios y políticos que antepongan los intereses de México a los suyos.'' (http://3de3.mx)

'''URL:''' http://3de3.mx

'''Wayback Machine:''' http://web.archive.org/web/20170309210318/http://3de3.mx

[[Category:On hold]]
[[Category:Politics]]
[[Category:Spanish]]
[[Category:Mexico]]
[[Category:Open government]]
[[Category:Nonprofit]]

1995 - Pit Stop Manifesto - Morgan Garwood

2020-02-29T02:29:16Z

Paz: /* Links */

== '''Text''' ==

1. Internet culture will bring the US, Western Europe, and the UK closer in to mental alignment,

2. HOWEVER, Internet users account for a small percentage of the population, generally the better informed and more upscale segment. This base of people will watch less television as a result. Therefore, the audience for television programming will become "dumbed down", OR, certain programs will have to become "smarted up"... we're definitely seeing this occur in the United States... one programming style for the computer/net literate, and one for those who are not... the gap between them is increasing...

3. net driven culture will not be limited to the net...it will become its own worldview, with its own polities, its own mindset, its own consumer patterns, its own ways of relating across generations...

4. Eastern Europe, Former Soviet Union, Africa, Southeast Asia, China, South America will have significant political reasons from The Top to resist internet access... people with secrets to keep DON"T like the implications... just like the aftershock of Romania when Nicole and Ilena Ceausescu were shot... the Old Guard got VERY paranoid...

5. therefore, watch for "offshore" dissidence, and the coordination of information about internal struggles/realities with Amnesty International, and other freedom service organizations...

6. watch for other outgrowths of information freedom, such as small, low powered radio stations defying central authority, and novel forms of tax evasion and pleasure seeking... (like Sex Zones in Thailand linking to Japanese businessmen desiring Fucking Vacations or Get High Zones linking to drug consumers or Enlightenment Zones when people can go for spiritual stuff...)

7. following on #6, the world becoming Zones of Permission and Zones Of Denial... for instance, one goes to Singapore Zone to get incredible microelectronic engineering done at a good price then goes to Buddha Zone then goes to Party Zone... international government becomes Zoning Board Politics...

8. "art" as we understand it becomes replace with integrated multi-media experiences. Art Museums become Artifact Museums...
9. political candidates and "cause activists" start mailing out CD ROMS, and the people that used to be artists are employed to design these things...

10. new technology rich religions appear, but people will be very cautious because of the experience with the Church of Scientology. The Church of Scientology will get in a LOT more trouble than anyone expected, and it will turn out that they have major dirt n big players, and that is why they have gotten away with it for so long.

11, a new personality structure will appear, or, we should say, a new pathology/neurosis of Passive Agressive Neo-Idiot, the residue of old bureaucratic forms that cannot/will not adapt. There will also be evolving standards of criminal sophistication, causing Neo-Crime. Neo-Idiots and Neo Criminals will lead to deep social reaction. In the United States Neo-Idiots and Neo-Criminals will become more allied with the Laywer/Judge class in figuring out ways to "work the system". The system will respond by become high-surveillance, data-base intensive, replacing potential trouble causing people with automation and robotics wherever possible.

== '''Context''' ==

== '''Authors''' ==

== '''Sources''' ==

== '''File''' ==

== '''Links''' ==

'''URL:''' http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

'''Wayback Machine:''' https://web.archive.org/web/20180328053059/http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

[[Category:Manifestos]]
[[Category:English]]
[[Category:USA]]
[[Category:1995]]
[[Category:Morgan Garwood]]

1995 - Pit Stop Manifesto - Morgan Garwood

2020-02-29T02:29:02Z

Paz: /* Links */

== '''Text''' ==

1. Internet culture will bring the US, Western Europe, and the UK closer in to mental alignment,

2. HOWEVER, Internet users account for a small percentage of the population, generally the better informed and more upscale segment. This base of people will watch less television as a result. Therefore, the audience for television programming will become "dumbed down", OR, certain programs will have to become "smarted up"... we're definitely seeing this occur in the United States... one programming style for the computer/net literate, and one for those who are not... the gap between them is increasing...

3. net driven culture will not be limited to the net...it will become its own worldview, with its own polities, its own mindset, its own consumer patterns, its own ways of relating across generations...

4. Eastern Europe, Former Soviet Union, Africa, Southeast Asia, China, South America will have significant political reasons from The Top to resist internet access... people with secrets to keep DON"T like the implications... just like the aftershock of Romania when Nicole and Ilena Ceausescu were shot... the Old Guard got VERY paranoid...

5. therefore, watch for "offshore" dissidence, and the coordination of information about internal struggles/realities with Amnesty International, and other freedom service organizations...

6. watch for other outgrowths of information freedom, such as small, low powered radio stations defying central authority, and novel forms of tax evasion and pleasure seeking... (like Sex Zones in Thailand linking to Japanese businessmen desiring Fucking Vacations or Get High Zones linking to drug consumers or Enlightenment Zones when people can go for spiritual stuff...)

7. following on #6, the world becoming Zones of Permission and Zones Of Denial... for instance, one goes to Singapore Zone to get incredible microelectronic engineering done at a good price then goes to Buddha Zone then goes to Party Zone... international government becomes Zoning Board Politics...

8. "art" as we understand it becomes replace with integrated multi-media experiences. Art Museums become Artifact Museums...
9. political candidates and "cause activists" start mailing out CD ROMS, and the people that used to be artists are employed to design these things...

10. new technology rich religions appear, but people will be very cautious because of the experience with the Church of Scientology. The Church of Scientology will get in a LOT more trouble than anyone expected, and it will turn out that they have major dirt n big players, and that is why they have gotten away with it for so long.

11, a new personality structure will appear, or, we should say, a new pathology/neurosis of Passive Agressive Neo-Idiot, the residue of old bureaucratic forms that cannot/will not adapt. There will also be evolving standards of criminal sophistication, causing Neo-Crime. Neo-Idiots and Neo Criminals will lead to deep social reaction. In the United States Neo-Idiots and Neo-Criminals will become more allied with the Laywer/Judge class in figuring out ways to "work the system". The system will respond by become high-surveillance, data-base intensive, replacing potential trouble causing people with automation and robotics wherever possible.

== '''Context''' ==

== '''Authors''' ==

== '''Sources''' ==

== '''File''' ==

== '''Links''' ==

'''URL:''' http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

'''Wayback Machine:''' https://web.archive.org/web/20180328053059/http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

[[Category:Manifestos]]
[[Category:English]]
[[Category:EEUU]]
[[Category:1995]]
[[Category:Morgan Garwood]]

1995 - Pit Stop Manifesto - Morgan Garwood

2020-02-28T23:36:21Z

Paz: /* Sources */

1995 - Pit Stop Manifesto - Morgan Garwood

2020-02-28T23:36:10Z

Paz: /* Context */

== '''Text''' ==

1. Internet culture will bring the US, Western Europe, and the UK closer in to mental alignment,

2. HOWEVER, Internet users account for a small percentage of the population, generally the better informed and more upscale segment. This base of people will watch less television as a result. Therefore, the audience for television programming will become "dumbed down", OR, certain programs will have to become "smarted up"... we're definitely seeing this occur in the United States... one programming style for the computer/net literate, and one for those who are not... the gap between them is increasing...

3. net driven culture will not be limited to the net...it will become its own worldview, with its own polities, its own mindset, its own consumer patterns, its own ways of relating across generations...

4. Eastern Europe, Former Soviet Union, Africa, Southeast Asia, China, South America will have significant political reasons from The Top to resist internet access... people with secrets to keep DON"T like the implications... just like the aftershock of Romania when Nicole and Ilena Ceausescu were shot... the Old Guard got VERY paranoid...

5. therefore, watch for "offshore" dissidence, and the coordination of information about internal struggles/realities with Amnesty International, and other freedom service organizations...

6. watch for other outgrowths of information freedom, such as small, low powered radio stations defying central authority, and novel forms of tax evasion and pleasure seeking... (like Sex Zones in Thailand linking to Japanese businessmen desiring Fucking Vacations or Get High Zones linking to drug consumers or Enlightenment Zones when people can go for spiritual stuff...)

7. following on #6, the world becoming Zones of Permission and Zones Of Denial... for instance, one goes to Singapore Zone to get incredible microelectronic engineering done at a good price then goes to Buddha Zone then goes to Party Zone... international government becomes Zoning Board Politics...

8. "art" as we understand it becomes replace with integrated multi-media experiences. Art Museums become Artifact Museums...
9. political candidates and "cause activists" start mailing out CD ROMS, and the people that used to be artists are employed to design these things...

10. new technology rich religions appear, but people will be very cautious because of the experience with the Church of Scientology. The Church of Scientology will get in a LOT more trouble than anyone expected, and it will turn out that they have major dirt n big players, and that is why they have gotten away with it for so long.

11, a new personality structure will appear, or, we should say, a new pathology/neurosis of Passive Agressive Neo-Idiot, the residue of old bureaucratic forms that cannot/will not adapt. There will also be evolving standards of criminal sophistication, causing Neo-Crime. Neo-Idiots and Neo Criminals will lead to deep social reaction. In the United States Neo-Idiots and Neo-Criminals will become more allied with the Laywer/Judge class in figuring out ways to "work the system". The system will respond by become high-surveillance, data-base intensive, replacing potential trouble causing people with automation and robotics wherever possible.

== '''Context''' ==

== '''Authors''' ==

== '''Sources''' ==

(1) http://www.tacticalmediafiles.net/events/4672/Next-5-Minutes-2

(2) http://www.tacticalmediafiles.net/n5m2/media/programm/

== '''File''' ==

== '''Links''' ==

'''URL:''' http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

'''Wayback Machine:''' https://web.archive.org/web/20180328053059/http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

[[Category:Manifestos]]
[[Category:English]]
[[Category: ]]
[[Category:1996]]
[[Category:Morgan Garwood]]

1995 - Pit Stop Manifesto - Morgan Garwood

2020-02-28T23:32:28Z

Paz: Paz moved page 1996 - Pit Stop Manifesto - Morgan Garwood to 1995 - Pit Stop Manifesto - Morgan Garwood without leaving a redirect

== '''Text''' ==

1. Internet culture will bring the US, Western Europe, and the UK closer in to mental alignment,

2. HOWEVER, Internet users account for a small percentage of the population, generally the better informed and more upscale segment. This base of people will watch less television as a result. Therefore, the audience for television programming will become "dumbed down", OR, certain programs will have to become "smarted up"... we're definitely seeing this occur in the United States... one programming style for the computer/net literate, and one for those who are not... the gap between them is increasing...

3. net driven culture will not be limited to the net...it will become its own worldview, with its own polities, its own mindset, its own consumer patterns, its own ways of relating across generations...

4. Eastern Europe, Former Soviet Union, Africa, Southeast Asia, China, South America will have significant political reasons from The Top to resist internet access... people with secrets to keep DON"T like the implications... just like the aftershock of Romania when Nicole and Ilena Ceausescu were shot... the Old Guard got VERY paranoid...

5. therefore, watch for "offshore" dissidence, and the coordination of information about internal struggles/realities with Amnesty International, and other freedom service organizations...

6. watch for other outgrowths of information freedom, such as small, low powered radio stations defying central authority, and novel forms of tax evasion and pleasure seeking... (like Sex Zones in Thailand linking to Japanese businessmen desiring Fucking Vacations or Get High Zones linking to drug consumers or Enlightenment Zones when people can go for spiritual stuff...)

7. following on #6, the world becoming Zones of Permission and Zones Of Denial... for instance, one goes to Singapore Zone to get incredible microelectronic engineering done at a good price then goes to Buddha Zone then goes to Party Zone... international government becomes Zoning Board Politics...

8. "art" as we understand it becomes replace with integrated multi-media experiences. Art Museums become Artifact Museums...
9. political candidates and "cause activists" start mailing out CD ROMS, and the people that used to be artists are employed to design these things...

10. new technology rich religions appear, but people will be very cautious because of the experience with the Church of Scientology. The Church of Scientology will get in a LOT more trouble than anyone expected, and it will turn out that they have major dirt n big players, and that is why they have gotten away with it for so long.

11, a new personality structure will appear, or, we should say, a new pathology/neurosis of Passive Agressive Neo-Idiot, the residue of old bureaucratic forms that cannot/will not adapt. There will also be evolving standards of criminal sophistication, causing Neo-Crime. Neo-Idiots and Neo Criminals will lead to deep social reaction. In the United States Neo-Idiots and Neo-Criminals will become more allied with the Laywer/Judge class in figuring out ways to "work the system". The system will respond by become high-surveillance, data-base intensive, replacing potential trouble causing people with automation and robotics wherever possible.

== '''Context''' ==

''Pit Stop Manifesto'' was presented during the Next 5 Minutes Festival in its second edition held from 18 to 21 January 1996 in the cities of Amsterdam and Rotterdam (1). The Pit Schultz's text was read it in the Paradiso Hall from Amsterdam in january 19 of the same year (2). Next 5 Minutes was a series of encounters about tactical media and the intersection between art, politics and mass media (3). Until now the festival has 4 editions which have not been organized following a recurrent temporal pattern (3). The second edition of the festival was divides in the following blocks: tactical research, publics, domains and access, metaforical languages and net criticism (1).

== '''Authors''' ==

== '''Sources''' ==

(1) http://www.tacticalmediafiles.net/events/4672/Next-5-Minutes-2

(2) http://www.tacticalmediafiles.net/n5m2/media/programm/

== '''File''' ==

== '''Links''' ==

'''URL:''' http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

'''Wayback Machine:''' https://web.archive.org/web/20180328053059/http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

[[Category:Manifestos]]
[[Category:English]]
[[Category: ]]
[[Category:1996]]
[[Category:Morgan Garwood]]

Category:Morgan Garwood

2020-02-28T23:31:58Z

Paz: Created page with "category:authors"

[[category:authors]]

1995 - Pit Stop Manifesto - Morgan Garwood

2020-02-28T23:31:34Z

Paz: /* Links */

== '''Text''' ==

1. Internet culture will bring the US, Western Europe, and the UK closer in to mental alignment,

2. HOWEVER, Internet users account for a small percentage of the population, generally the better informed and more upscale segment. This base of people will watch less television as a result. Therefore, the audience for television programming will become "dumbed down", OR, certain programs will have to become "smarted up"... we're definitely seeing this occur in the United States... one programming style for the computer/net literate, and one for those who are not... the gap between them is increasing...

3. net driven culture will not be limited to the net...it will become its own worldview, with its own polities, its own mindset, its own consumer patterns, its own ways of relating across generations...

4. Eastern Europe, Former Soviet Union, Africa, Southeast Asia, China, South America will have significant political reasons from The Top to resist internet access... people with secrets to keep DON"T like the implications... just like the aftershock of Romania when Nicole and Ilena Ceausescu were shot... the Old Guard got VERY paranoid...

5. therefore, watch for "offshore" dissidence, and the coordination of information about internal struggles/realities with Amnesty International, and other freedom service organizations...

6. watch for other outgrowths of information freedom, such as small, low powered radio stations defying central authority, and novel forms of tax evasion and pleasure seeking... (like Sex Zones in Thailand linking to Japanese businessmen desiring Fucking Vacations or Get High Zones linking to drug consumers or Enlightenment Zones when people can go for spiritual stuff...)

7. following on #6, the world becoming Zones of Permission and Zones Of Denial... for instance, one goes to Singapore Zone to get incredible microelectronic engineering done at a good price then goes to Buddha Zone then goes to Party Zone... international government becomes Zoning Board Politics...

8. "art" as we understand it becomes replace with integrated multi-media experiences. Art Museums become Artifact Museums...
9. political candidates and "cause activists" start mailing out CD ROMS, and the people that used to be artists are employed to design these things...

10. new technology rich religions appear, but people will be very cautious because of the experience with the Church of Scientology. The Church of Scientology will get in a LOT more trouble than anyone expected, and it will turn out that they have major dirt n big players, and that is why they have gotten away with it for so long.

11, a new personality structure will appear, or, we should say, a new pathology/neurosis of Passive Agressive Neo-Idiot, the residue of old bureaucratic forms that cannot/will not adapt. There will also be evolving standards of criminal sophistication, causing Neo-Crime. Neo-Idiots and Neo Criminals will lead to deep social reaction. In the United States Neo-Idiots and Neo-Criminals will become more allied with the Laywer/Judge class in figuring out ways to "work the system". The system will respond by become high-surveillance, data-base intensive, replacing potential trouble causing people with automation and robotics wherever possible.

== '''Context''' ==

''Pit Stop Manifesto'' was presented during the Next 5 Minutes Festival in its second edition held from 18 to 21 January 1996 in the cities of Amsterdam and Rotterdam (1). The Pit Schultz's text was read it in the Paradiso Hall from Amsterdam in january 19 of the same year (2). Next 5 Minutes was a series of encounters about tactical media and the intersection between art, politics and mass media (3). Until now the festival has 4 editions which have not been organized following a recurrent temporal pattern (3). The second edition of the festival was divides in the following blocks: tactical research, publics, domains and access, metaforical languages and net criticism (1).

== '''Authors''' ==

== '''Sources''' ==

(1) http://www.tacticalmediafiles.net/events/4672/Next-5-Minutes-2

(2) http://www.tacticalmediafiles.net/n5m2/media/programm/

== '''File''' ==

== '''Links''' ==

'''URL:''' http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

'''Wayback Machine:''' https://web.archive.org/web/20180328053059/http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

[[Category:Manifestos]]
[[Category:English]]
[[Category: ]]
[[Category:1996]]
[[Category:Morgan Garwood]]

1995 - Pit Stop Manifesto - Morgan Garwood

2020-02-28T23:31:08Z

Paz: /* Sources */

== '''Text''' ==

1. Internet culture will bring the US, Western Europe, and the UK closer in to mental alignment,

2. HOWEVER, Internet users account for a small percentage of the population, generally the better informed and more upscale segment. This base of people will watch less television as a result. Therefore, the audience for television programming will become "dumbed down", OR, certain programs will have to become "smarted up"... we're definitely seeing this occur in the United States... one programming style for the computer/net literate, and one for those who are not... the gap between them is increasing...

3. net driven culture will not be limited to the net...it will become its own worldview, with its own polities, its own mindset, its own consumer patterns, its own ways of relating across generations...

4. Eastern Europe, Former Soviet Union, Africa, Southeast Asia, China, South America will have significant political reasons from The Top to resist internet access... people with secrets to keep DON"T like the implications... just like the aftershock of Romania when Nicole and Ilena Ceausescu were shot... the Old Guard got VERY paranoid...

5. therefore, watch for "offshore" dissidence, and the coordination of information about internal struggles/realities with Amnesty International, and other freedom service organizations...

6. watch for other outgrowths of information freedom, such as small, low powered radio stations defying central authority, and novel forms of tax evasion and pleasure seeking... (like Sex Zones in Thailand linking to Japanese businessmen desiring Fucking Vacations or Get High Zones linking to drug consumers or Enlightenment Zones when people can go for spiritual stuff...)

7. following on #6, the world becoming Zones of Permission and Zones Of Denial... for instance, one goes to Singapore Zone to get incredible microelectronic engineering done at a good price then goes to Buddha Zone then goes to Party Zone... international government becomes Zoning Board Politics...

8. "art" as we understand it becomes replace with integrated multi-media experiences. Art Museums become Artifact Museums...
9. political candidates and "cause activists" start mailing out CD ROMS, and the people that used to be artists are employed to design these things...

10. new technology rich religions appear, but people will be very cautious because of the experience with the Church of Scientology. The Church of Scientology will get in a LOT more trouble than anyone expected, and it will turn out that they have major dirt n big players, and that is why they have gotten away with it for so long.

11, a new personality structure will appear, or, we should say, a new pathology/neurosis of Passive Agressive Neo-Idiot, the residue of old bureaucratic forms that cannot/will not adapt. There will also be evolving standards of criminal sophistication, causing Neo-Crime. Neo-Idiots and Neo Criminals will lead to deep social reaction. In the United States Neo-Idiots and Neo-Criminals will become more allied with the Laywer/Judge class in figuring out ways to "work the system". The system will respond by become high-surveillance, data-base intensive, replacing potential trouble causing people with automation and robotics wherever possible.

== '''Context''' ==

''Pit Stop Manifesto'' was presented during the Next 5 Minutes Festival in its second edition held from 18 to 21 January 1996 in the cities of Amsterdam and Rotterdam (1). The Pit Schultz's text was read it in the Paradiso Hall from Amsterdam in january 19 of the same year (2). Next 5 Minutes was a series of encounters about tactical media and the intersection between art, politics and mass media (3). Until now the festival has 4 editions which have not been organized following a recurrent temporal pattern (3). The second edition of the festival was divides in the following blocks: tactical research, publics, domains and access, metaforical languages and net criticism (1).

== '''Authors''' ==

== '''Sources''' ==

(1) http://www.tacticalmediafiles.net/events/4672/Next-5-Minutes-2

(2) http://www.tacticalmediafiles.net/n5m2/media/programm/

== '''File''' ==

== '''Links''' ==

'''URL:''' http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

'''Wayback Machine:''' https://web.archive.org/web/20180328053059/http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

[[Category:Manifestos]]
[[Category:English]]
[[Category:Netherlands]]
[[Category:1996]]
[[Category:Pit Schultz]]

1995 - Pit Stop Manifesto - Morgan Garwood

2020-02-28T23:30:48Z

Paz: /* Authors */

== '''Text''' ==

1. Internet culture will bring the US, Western Europe, and the UK closer in to mental alignment,

2. HOWEVER, Internet users account for a small percentage of the population, generally the better informed and more upscale segment. This base of people will watch less television as a result. Therefore, the audience for television programming will become "dumbed down", OR, certain programs will have to become "smarted up"... we're definitely seeing this occur in the United States... one programming style for the computer/net literate, and one for those who are not... the gap between them is increasing...

3. net driven culture will not be limited to the net...it will become its own worldview, with its own polities, its own mindset, its own consumer patterns, its own ways of relating across generations...

4. Eastern Europe, Former Soviet Union, Africa, Southeast Asia, China, South America will have significant political reasons from The Top to resist internet access... people with secrets to keep DON"T like the implications... just like the aftershock of Romania when Nicole and Ilena Ceausescu were shot... the Old Guard got VERY paranoid...

5. therefore, watch for "offshore" dissidence, and the coordination of information about internal struggles/realities with Amnesty International, and other freedom service organizations...

6. watch for other outgrowths of information freedom, such as small, low powered radio stations defying central authority, and novel forms of tax evasion and pleasure seeking... (like Sex Zones in Thailand linking to Japanese businessmen desiring Fucking Vacations or Get High Zones linking to drug consumers or Enlightenment Zones when people can go for spiritual stuff...)

7. following on #6, the world becoming Zones of Permission and Zones Of Denial... for instance, one goes to Singapore Zone to get incredible microelectronic engineering done at a good price then goes to Buddha Zone then goes to Party Zone... international government becomes Zoning Board Politics...

8. "art" as we understand it becomes replace with integrated multi-media experiences. Art Museums become Artifact Museums...
9. political candidates and "cause activists" start mailing out CD ROMS, and the people that used to be artists are employed to design these things...

10. new technology rich religions appear, but people will be very cautious because of the experience with the Church of Scientology. The Church of Scientology will get in a LOT more trouble than anyone expected, and it will turn out that they have major dirt n big players, and that is why they have gotten away with it for so long.

11, a new personality structure will appear, or, we should say, a new pathology/neurosis of Passive Agressive Neo-Idiot, the residue of old bureaucratic forms that cannot/will not adapt. There will also be evolving standards of criminal sophistication, causing Neo-Crime. Neo-Idiots and Neo Criminals will lead to deep social reaction. In the United States Neo-Idiots and Neo-Criminals will become more allied with the Laywer/Judge class in figuring out ways to "work the system". The system will respond by become high-surveillance, data-base intensive, replacing potential trouble causing people with automation and robotics wherever possible.

== '''Context''' ==

''Pit Stop Manifesto'' was presented during the Next 5 Minutes Festival in its second edition held from 18 to 21 January 1996 in the cities of Amsterdam and Rotterdam (1). The Pit Schultz's text was read it in the Paradiso Hall from Amsterdam in january 19 of the same year (2). Next 5 Minutes was a series of encounters about tactical media and the intersection between art, politics and mass media (3). Until now the festival has 4 editions which have not been organized following a recurrent temporal pattern (3). The second edition of the festival was divides in the following blocks: tactical research, publics, domains and access, metaforical languages and net criticism (1).

== '''Authors''' ==

== '''Sources''' ==

(1) http://www.tacticalmediafiles.net/events/4672/Next-5-Minutes-2

(2) http://www.tacticalmediafiles.net/n5m2/media/programm/

(3) http://www.tacticalmediafiles.net/n5m4/about.jsp.html

(4) https://monoskop.org/Pit_Schultz

(5) https://transmediale.de/de/content/pit-schultz

(6) http://v2.nl/archive/people/pit-schultz

== '''File''' ==

== '''Links''' ==

'''URL:''' http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

'''Wayback Machine:''' https://web.archive.org/web/20180328053059/http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

[[Category:Manifestos]]
[[Category:English]]
[[Category:Netherlands]]
[[Category:1996]]
[[Category:Pit Schultz]]

1995 - Pit Stop Manifesto - Morgan Garwood

2020-02-28T23:30:30Z

Paz: Paz moved page 1996 - Pit Stop Manifesto - Pit Schultz to 1996 - Pit Stop Manifesto - Morgan Garwood without leaving a redirect

== '''Text''' ==

1. Internet culture will bring the US, Western Europe, and the UK closer in to mental alignment,

2. HOWEVER, Internet users account for a small percentage of the population, generally the better informed and more upscale segment. This base of people will watch less television as a result. Therefore, the audience for television programming will become "dumbed down", OR, certain programs will have to become "smarted up"... we're definitely seeing this occur in the United States... one programming style for the computer/net literate, and one for those who are not... the gap between them is increasing...

3. net driven culture will not be limited to the net...it will become its own worldview, with its own polities, its own mindset, its own consumer patterns, its own ways of relating across generations...

4. Eastern Europe, Former Soviet Union, Africa, Southeast Asia, China, South America will have significant political reasons from The Top to resist internet access... people with secrets to keep DON"T like the implications... just like the aftershock of Romania when Nicole and Ilena Ceausescu were shot... the Old Guard got VERY paranoid...

5. therefore, watch for "offshore" dissidence, and the coordination of information about internal struggles/realities with Amnesty International, and other freedom service organizations...

6. watch for other outgrowths of information freedom, such as small, low powered radio stations defying central authority, and novel forms of tax evasion and pleasure seeking... (like Sex Zones in Thailand linking to Japanese businessmen desiring Fucking Vacations or Get High Zones linking to drug consumers or Enlightenment Zones when people can go for spiritual stuff...)

7. following on #6, the world becoming Zones of Permission and Zones Of Denial... for instance, one goes to Singapore Zone to get incredible microelectronic engineering done at a good price then goes to Buddha Zone then goes to Party Zone... international government becomes Zoning Board Politics...

8. "art" as we understand it becomes replace with integrated multi-media experiences. Art Museums become Artifact Museums...
9. political candidates and "cause activists" start mailing out CD ROMS, and the people that used to be artists are employed to design these things...

10. new technology rich religions appear, but people will be very cautious because of the experience with the Church of Scientology. The Church of Scientology will get in a LOT more trouble than anyone expected, and it will turn out that they have major dirt n big players, and that is why they have gotten away with it for so long.

11, a new personality structure will appear, or, we should say, a new pathology/neurosis of Passive Agressive Neo-Idiot, the residue of old bureaucratic forms that cannot/will not adapt. There will also be evolving standards of criminal sophistication, causing Neo-Crime. Neo-Idiots and Neo Criminals will lead to deep social reaction. In the United States Neo-Idiots and Neo-Criminals will become more allied with the Laywer/Judge class in figuring out ways to "work the system". The system will respond by become high-surveillance, data-base intensive, replacing potential trouble causing people with automation and robotics wherever possible.

== '''Context''' ==

''Pit Stop Manifesto'' was presented during the Next 5 Minutes Festival in its second edition held from 18 to 21 January 1996 in the cities of Amsterdam and Rotterdam (1). The Pit Schultz's text was read it in the Paradiso Hall from Amsterdam in january 19 of the same year (2). Next 5 Minutes was a series of encounters about tactical media and the intersection between art, politics and mass media (3). Until now the festival has 4 editions which have not been organized following a recurrent temporal pattern (3). The second edition of the festival was divides in the following blocks: tactical research, publics, domains and access, metaforical languages and net criticism (1).

== '''Authors''' ==

Pit Schultz is an artist, expert in informatics and activist of the internet that was born in Heidelberg, Germany in 1965. In the present lives and works in Berlin (5). Schultz, who along with Geert Lovink created the genre of "Net criticism" (5), is also one of the founders of the mailing list nettime.org (1995) and of the laboratory of makers Bootlab (2000) (6). The author also has lead numerous online radio stations like Internationale Stadt y reboot.fm (4).

== '''Sources''' ==

(1) http://www.tacticalmediafiles.net/events/4672/Next-5-Minutes-2

(2) http://www.tacticalmediafiles.net/n5m2/media/programm/

(3) http://www.tacticalmediafiles.net/n5m4/about.jsp.html

(4) https://monoskop.org/Pit_Schultz

(5) https://transmediale.de/de/content/pit-schultz

(6) http://v2.nl/archive/people/pit-schultz

== '''File''' ==

== '''Links''' ==

'''URL:''' http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

'''Wayback Machine:''' https://web.archive.org/web/20180328053059/http://www.tacticalmediafiles.net/articles/3116/Pit-Stop-Manifesto

[[Category:Manifestos]]
[[Category:English]]
[[Category:Netherlands]]
[[Category:1996]]
[[Category:Pit Schultz]]

Category:Bulgaria

2019-03-18T09:59:43Z

Paz: Created page with "Category:Starting country(ies)"

[[Category:Starting country(ies)]]

1997 - A Cyberpunk Manifesto - Christian As. Kirtchev

2019-03-18T09:58:17Z

Paz:

[[File:Screenshot-project.cyberpunk.ru 2017-04-17 16-59-19.png|thumbnail|right]]

== '''Text''' ==
'''A Cyberpunk Manifesto'''

'''By Christian As. Kirtchev'''

'''We are the ELECTRONIC MINDS, a group of free-minded rebels. Cyberpunks.
We live in Cyberspace, we are everywhere, we know no boundaries.
This is our manifest. The Cyberpunks' manifest.'''

'''I. Cyberpunk'''

'''1/''' We are those, the Different. Technological rats, swimming in the ocean of information.
'''2/''' We are the retiring, little kid at school, sitting at the last desk, in the corner of the class room. '''3/''' We are the teenager everybody considers strange '''4/''' We are the student hacking computer systems, exploring the depth of his reach. '''5/''' We are the grown-up in the park, sitting on a bench, laptop on his knees, programming the last virtual reality. '''6/''' Ours is the garage, stuffed with electronics. The soldering iron in the corner of the desk and the nearby disassembled radio- they are also ours. Ours is the cellar with computers, buzzing printers and beeping modems. '''7/''' We are those that see reality in a different way. Our point of view shows more than ordinary people can see. They see only what is outside, but we see what is inside. That's what we are - realists with the glasses of dreamers. '''8/''' We are those strange people, almost unknown to the neighborhood. People, indulged in their own thoughts, sitting day after day before the computer, ransacking the net for something. We are not often out of home, just from time to time, only to go to the nearby radio shack, or to the usual bar to meet some of the few friends we have, or to meet a client, or to the backstreet druggist... or just for a little walk. '''9/''' We do not have many friends, only a few with whom we go to parties. Everybody else we know we know on the net. Our real friends are there, on the other side of the line. We know them from our favorite IRC channel, from the News-Groups, from the systems we hang-around: '''10/''' We are those who don't give a shit about what people think about us, we don't care what we look like or what people talk about us in our absence. '''11/''' The majority of us likes to live in hiding, being unknown to everybody except those few we must inevitably contact with. '''12/''' Others love publicity, they love fame. They are all known in the underground world. Their names are often heard there.
But we are all united by one thing - we are Cyberpunks.

'''13/''' Society does not understand us, we are "weird" and "crazy" people in the eyes of the ordinary people who live far from information and free ideas. Society denies our way of thinking - a society, living, thinking and breathing in one and only one way - a clichc. '''14/''' They deny us for we think like free people, and free thinking is forbidden. '''15/''' The Cyberpunk has outer appearance, he is no motion. Cyberpunks are people, starting from the ordinary and known to nobody person, to the artist-technomaniac, to the musician, playing electronic music, to the superficial scholar. '''16/''' The Cyberpunk is no literature genre anymore, not even an ordinary subculture. The Cyberpunk is a stand-alone new culture, offspring of the new age. A culture that unites our common interests and views. We are a unit. We are Cyberpunks.

'''II. Society'''

'''1/''' The Society which surrounds us is clogged with concervacy pulling everything and everybody to itself, while it sinks slowly in the quicksands of time. '''2/''' However doggedly some refuse to believe it, it is obvious that we live in a sick society. The so called reforms which our governments so adeptly use to boast, are nothing else but a little step forward, when a whole jump can be done. '''3/''' People fear the new and unknown. They prefer the old, the known and checked truths. They are afraid of what the new can bring to them. They are afraid that they can lose what they have. '''4/''' Their fear is so strong that it has proclaimed the revolutional a foe and a the free idea - its weapon. That's their fault. '''5/''' People must leave this fear behind and go ahead. What's the sense to stick to the little you have now when you can have more tomorrow. Everything they must do is stretch their hands and feel for the new; give freedom to thoughts, ideas, to words: '''6/''' For centuries each generation has been brought up is a same pattern. Ideals is what everybody follows. Individuality is forgotten. People think in a same way, following the clichc drilled in them in childhood, the clichc-education for all children: And, when someone dares defy authority, he is punished and given as a bad example. "Here is what happens to you when you express your own opinion and deny your teacher's one". '''7/''' Our society is sick and need to be healed. The cure is a change in the system...

'''III. The System'''

'''1/''' The System. Centuries-old, existing on principles that hang no more today. A System that has not changed much since the day of its birth. '''2/''' The System is wrong. '''3/''' The System must impose its truth upon us so that it can rule. The government needs us follow it blindly. For this reason we live in an informational eclipse. When people acquire information other that that from the government, they cannot distinguish the right from the wrong. So the lie becomes a truth - a truth, fundamental to everything else. Thus the leaders control with lies and the ordinary people have no notion of what is true and follow the government blindly, trusting it. '''4/''' We fight for freedom of information. We fight for freedom of speech and press. For the freedom to express our thoughts freely, without being persecuted by the system. '''5/''' Even in the most-developed and 'democratic' countries, the system imposes misinformation. Even in the countries that pretend to be the cradle of free speech. Misinformation is one of the system's main weapon. A weapon, they use very well. '''6/''' It is the Net that helps us spread the information freely. The Net, with no boundaries and information limit '''7/''' Ours is yours, yours is ours. '''8/''' Everyone can share information, no restrictions. '''9/''' Encrypting of informattion is our weapon. Thus the words of revolution can spread uninterrupted, and the government can only guess. '''10/''' The Net is our realm, in the Net we are Kings.'''11/''' Laws. The world is changing, but the laws remain the same. The System is not changing, only a few details get redressed for the new time, but everything in the concept remains the same. '''12/''' We need new laws. Laws, fitting the times we live in, with the world that surrounds us. Not laws build on the basis of the past. Laws, build for today, laws, that will fit tomorrow. '''13/''' The laws that only refrain us. Laws that badly need revision.

'''IV. The vision'''

'''1/''' Some people do not care much about what happens globally. They care about what happens around them, in their micro-universe. '''2/''' These people can only see a dark future, for they can only see the life they live now. '''3/''' Others show some concern about the global affairs. They are interested in everything,in the future in perspective, in what is going to happen globally. '''4/''' They have a more optimistic view. To them the future is cleaner and more beautiful, for they can see into it and they see a more mature man, a wiser world. '''5/''' We are in the middle. We are interested in what happens now, but what in what's gonna happen tomorow as well. '''6/''' We look in the net, and the net is growing wide and wider. '''7/''' Soon everything in this world will be swallowed by the net: from the military systems to the PC at home. '''8/''' But the net is a house of anarchy. '''9/''' It cannot be controlled and in this is its power. '''10/''' Every man will be dependent on the net. '''11/''' The whole information will be there, locked in the abysses of zeros and ones. '''12/''' Who controls the net, controls the information. '''13/''' We will live in a mixture of past and present. '''14/''' The bad come from the man, and the good comes from technology. '''15/''' The net will control the little man, and we will control the net. '''16/''' For is you do not control, you will be controlled. '''17/''' The Information is POWER!

'''V. Where are we?'''

'''1/''' Where are we? '''2/''' We all live in a sick world, where hatred is a weapon, and freedom - a dream. '''3/''' The world grows so slowly. It is hard for a Cyberpunk to live in an underdeveloped world, looking the people around him, seeing how wrongly they develop. '''4/''' We go ahead, they pull us back again. Society suppressses us. Yes, it suppresses the freedom of thought. With its cruel education programs in schools and universities. They drill in the children their view of things and every attempt to express a different opinion is denied and punished. '''5/''' Our kids grow educated in this old and still unchanged system. A system that tolerates no freedom of thought and demands a strict obeyance to the reules... '''6/''' In what a worlds, how different from this, could we live now, if people were making jumps and not creeps. '''7/''' It is so hard to live in this world, Cyberpunk. '''8/''' It is as if time has stopped. '''9/''' We live on the right spot, but not in the right time. '''10/''' Everything is so ordinary, people are all the same, their deeds toos. As if society feels an urgent need to live back in time. '''11/''' Some, trying to find their own world, the world of a Cyberpunk, and finding it, build their own world. Build in their thoughts, it changes reality, lays over it and thus they live in a virtual world. The thought-up, build upon reality: '''12/''' Others simply get accustomed to the world as it is. They continue to live in it, although they dislike it. They have no other choice but the bare hope that the world will go out of its hollow and will go ahead. '''13/''' What we are trying to do is change the situation. We are trying to adjust the present world to our needs and views. To use maximally what is fit and to ignore the trash. Where we can't, we just live in this world, like Cyberpunks, no matter how hard, when society fights us we fight back. '''14/''' We build our worlds in Cyberspace. '''15/''' Among the zeros and ones, among the bits of information. 16/ We build our community. The community of Cyberpunks.

Unite!
Fight for your rights!

'''We are the ELECTRONIC MINDS, a group of free-minded rebels. Cyberpunks.
We live in Cyberspace, we are everywhere, we know no boundaries.
This is our manifest. The Cyberpunks' Manifest.'''

February 14, 1997

Christian As. Kirtchev

Translation by Illian Batanov Malchev, 1997

== '''Context''' ==

== '''Authors''' ==

== '''File''' ==
[[File:A Cyberpunk Manifesto.pdf|thumbnail|left]]

== '''Sources''' ==

Edition from The Cyberpunk Project
http://project.cyberpunk.ru/ckx/writings/index.html

A new translation to English here:
https://www.neondystopia.com/cyberpunk-fashion-lifestyle/a-cyberpunk-manifesto-revised/

http://project.cyberpunk.ru/ckx/index.html

== '''Links''' ==

'''URL:''' http://project.cyberpunk.ru/idb/cyberpunk_manifesto.html

'''Wayback Machine:''' https://web.archive.org/web/20160313184748/http://project.cyberpunk.ru/idb/cyberpunk_manifesto.html

[[Category:Manifestos]]
[[Category:English]]
[[Category:Bulgarian]]
[[Category:Spanish]]
[[Category:Russian]]
[[Category:Bulgaria]]
[[Category:1997]]
[[Category:Christian As. Kirtchev]]

1993 - A Cypherpunk's Manifesto - Eric Hughes

2019-03-15T19:54:25Z

Paz: Paz moved page 1993 - Eric Hughes - A Cypherpunk's Manifesto to 1993 - A Cypherpunk's Manifesto - Eric Hughes without leaving a redirect

== '''Text''' ==

Privacy is necessary for an open society in the electronic age. Privacy is not secrecy. A private matter is something one doesn't want the whole world to know, but a secret matter is something one doesn't want anybody to know. Privacy is the power to selectively reveal oneself to the world.

If two parties have some sort of dealings, then each has a memory of their interaction. Each party can speak about their own memory of this; how could anyone prevent it? One could pass laws against it, but the freedom of speech, even more than privacy, is fundamental to an open society; we seek not to restrict any speech at all. If many parties speak together in the same forum, each can speak to all the others and aggregate together knowledge about individuals and other parties. The power of electronic communications has enabled such group speech, and it will not go away merely because we might want it to.

Since we desire privacy, we must ensure that each party to a transaction have knowledge only of that which is directly necessary for that transaction. Since any information can be spoken of, we must ensure that we reveal as little as possible. In most cases personal identity is not salient. When I purchase a magazine at a store and hand cash to the clerk, there is no need to know who I am. When I ask my electronic mail provider to send and receive messages, my provider need not know to whom I am speaking or what I am saying or what others are saying to me; my provider only need know how to get the message there and how much I owe them in fees. When my identity is revealed by the underlying mechanism of the transaction, I have no privacy. I cannot here selectively reveal myself; I must always reveal myself.

Therefore, privacy in an open society requires anonymous transaction systems. Until now, cash has been the primary such system. An anonymous transaction system is not a secret transaction system. An anonymous system empowers individuals to reveal their identity when desired and only when desired; this is the essence of privacy.

Privacy in an open society also requires cryptography. If I say something, I want it heard only by those for whom I intend it. If the content of my speech is available to the world, I have no privacy. To encrypt is to indicate the desire for privacy, and to encrypt with weak cryptography is to indicate not too much desire for privacy. Furthermore, to reveal one's identity with assurance when the default is anonymity requires the cryptographic signature.

We cannot expect governments, corporations, or other large, faceless organizations to grant us privacy out of their beneficence. It is to their advantage to speak of us, and we should expect that they will speak. To try to prevent their speech is to fight against the realities of information. Information does not just want to be free, it longs to be free. Information expands to fill the available storage space. Information is Rumor's younger, stronger cousin; Information is fleeter of foot, has more eyes, knows more, and understands less than Rumor.

We must defend our own privacy if we expect to have any. We must come together and create systems which allow anonymous transactions to take place. People have been defending their own privacy for centuries with whispers, darkness, envelopes, closed doors, secret handshakes, and couriers. The technologies of the past did not allow for strong privacy, but electronic technologies do.

We the Cypherpunks are dedicated to building anonymous systems. We are defending our privacy with cryptography, with anonymous mail forwarding systems, with digital signatures, and with electronic money.

Cypherpunks write code. We know that someone has to write software to defend privacy, and since we can't get privacy unless we all do, we're going to write it. We publish our code so that our fellow Cypherpunks may practice and play with it. Our code is free for all to use, worldwide. We don't much care if you don't approve of the software we write. We know that software can't be destroyed and that a widely dispersed system can't be shut down.

Cypherpunks deplore regulations on cryptography, for encryption is fundamentally a private act. The act of encryption, in fact, removes information from the public realm. Even laws against cryptography reach only so far as a nation's border and the arm of its violence. Cryptography will ineluctably spread over the whole globe, and with it the anonymous transactions systems that it makes possible.

For privacy to be widespread it must be part of a social contract. People must come and together deploy these systems for the common good. Privacy only extends so far as the cooperation of one's fellows in society. We the Cypherpunks seek your questions and your concerns and hope we may engage you so that we do not deceive ourselves. We will not, however, be moved out of our course because some may disagree with our goals.

The Cypherpunks are actively engaged in making the networks safer for privacy. Let us proceed together apace.

Onward.

Eric Hughes <hughes@soda.berkeley.edu>

9 March 1993

== '''Context''' ==

== '''Authors''' ==

== '''File''' ==

== '''Sources''' ==

http://blog.9while9.com/manifesto-anthology/1993.html

http://www.dvara.net/HK/cyphermanifest.asp

https://hipertextual.com/2011/07/el-manifiesto-cipherpunk-sigue-vigente

https://www.activism.net/cypherpunk/manifesto.html

https://github.com/NakamotoInstitute/nakamotoinstitute.org/blob/master/sni/static/docs/cypherpunk-manifesto.txt

== '''Links''' ==

'''First Edition:'''

'''URL:''' https://www.activism.net/cypherpunk/manifesto.html

'''Wayback Machine:'''

[[Category:Manifestos]]
[[Category:English]]
[[Category:Spanish]]
[[Category:United States]]
[[Category:1993]]
[[Category:Eric Hughes]]

Category:Eric Hughes

2019-03-15T19:50:13Z

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[[Category:Authors]]

1993 - A Cypherpunk's Manifesto - Eric Hughes

2019-03-15T19:49:12Z

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1993 - A Cypherpunk's Manifesto - Eric Hughes

2019-03-15T19:48:52Z

Paz: Created page with "== '''Text''' == Privacy is necessary for an open society in the electronic age. Privacy is not secrecy. A private matter is something one doesn't want the wh..."

Domains, Publics and Access

2018-07-06T21:10:41Z

Paz:

== <big>'''An online collection of projects that offer different forms of access for the general public to the domains of art, science, culture, economics, politics and technology.'''</big> ==

Cataloging, preserving and documenting the current forms of access.

''open access, open content, open goverment, open science, open design, open education, open spectrum, citizen jornalism, citizen science, collaborative economy, sharing economy, commons, coops, crowdfunding, crowdsourcing, cryptocurrencies, DIY, makers, 3D printing, free software, free culture, community currencies, solidarity economy, future, grassroots media, p2p, pirate, tactical media, tactical urbanism, private, public…''

'''Versión en español: http://dpya.org'''

== '''Collecting''' ==

Domains, publics and access is an ongoing research project in media archaeology of the present been developed in Mexico by the Universidad Autónoma Metropolitana and the Alumnos47 Foundation since 2015. The core of the research is a wiki where we collect projects that offer access for the general public to the domains of art, culture, science, economics, politics and technology.

The Collection is dedicated to cataloguing, preserving and documenting projects that propose or investigate general access to the production, distribution and consumption of goods and services previously restricted mainly to specialists and professionals. Combining the mass media with heterogeneous social practices the projects question the vertical and centralized management of access by public and private institutions historically associated with art, science, culture, economics, politics and technology such as museums, galleries, libraries, archives, publishers, laboratories, universities, companies, banks, hospitals, governments, political parties, factories, etc.

Projects that experiment with more horizontal and decentralized management models appear on the web associated with recent terms such as open access, open data, open content, open education, open government, open design, open spectrum, open science, cryptocurrencies, citizen journalism, citizen science, collaborative economy, crowdfunding, crowdsourcing, free software, free culture, p2p, tactical urbanism ... These new terms coexist with old terms such as commons, public domain, time banks, grassroots media, solidarity economy, community currencies, cryptography, cooperatives, tactical media, DIY or piracy. All of them constitute the vocabulary of current forms of access, keywords of a vanishing present.

The Collection brings together projects that have emerged in different countries from the second half of the 20th century to the present day, with special attention to those developed in Mexico where the research began. The only condition is that the projects should be associated with the vocabulary of current forms of access counting on the participation of the general public in all domains of social activity. The collection includes, equally, projects launched by public and private institutions and different actors of civil society, since the questioning of the vertical and centralized management of access by institutions historically associated with the various domains is taking place inside and outside of them. In this way the Collection deals with the contemporary coexistence and hybridization between new and old models of access management that present different degrees of centralization and decentralization, verticality and horizontality.

== '''Cataloguing''' ==

Projects are catalogued according to the categories and subcategories associated with the three main sections in which the wiki is divided. In '''Domains''', the projects are indexed according to their main ascription to one or several Domains: Art, Science, Culture, Economics, Politics and Technology. In '''Publics''', projects are labeled based on their linguistic, geographical and temporal universe. We catalog all the Language(s) in which each project is published, the Start Country(ies), the Start Year and the Ending Year. In '''Access''', the projects are classified according to the vocabulary of current forms of access. As this vocabulary appears and is popularized mainly in English, the main menu categories are in this language: Citizen, Collaborative, Commons, Co-ops, Crowd, Crypto, DIY, Free, Future, Grassroots, Open, P2P, Pirate, Private, Public, Tactical. The translation is found in the subcategories that also expand the forms of access linked with each category in English and Spanish.

To show how the vocabulary of current forms of access is diversified with use, the wiki allows participants to add new categories and subcategories following the terms that the projects apply to define themselves. When the terms are not shown explicitly or appear under a slightly different version, the categories and subcategories already indexed are assigned according to the criteria of the participant. Only the subcategories No lucrativo/ Nonprofit (Private), Lucrativo/Profit (Private) and Estado/State (Public) are part of the cataloguing of all projects. In that way the public initiatives of governments are distinguished from all others and the business model and legal status of the project are indicated when they are clearly published. These cataloguing criteria also apply to projects that lack legal form or do not clearly state what their legal status is.

All the necessary information for the cataloguing is extracted from the project websites. Even the main sources for new projects are the links that they establish with other initiatives. Only in exceptional cases are secondary sources of information used to complete the cataloguing. The Collection does not pretend to be exhaustive. The selection is personal and depends on the online tours done by each participant as they register different projects in the wiki.

== '''Preserving''' ==

The goal is to preserve the memory of the '''Projects''' that appear and disappear day by day in different countries by using the tools available online. As these are recent projects, all have or had a website that is saved in Wayback Machine (http://archive.org/web/), the free service that Internet Archive (https://archive.org/) offers to preserve web pages in WARC format. In addition, all the '''Documentation''' of the projects is also preserved in Internet Archive for future generations.

== '''Documenting''' ==

The '''Documentation''' offers complementary information about the current forms of access in seven different sections. '''Interviews''' follows a questionnaire published by the fanzine Radical Software in 1970. The questionnaire applies to anyone involved in the projects who wish to provide their testimony. Although the questions were raised several decades ago by activists and artists working in TV and video in order to get to know each other better, they continue to be valid in the current context. The only parts in the questionnaire that were modified were the media in question. TV has been replaced by the Internet as a distribution channel and the hypertext of the World Wide Web occupies the place of video. The idea is to give a voice and a face to the projects that are the result of the work of specific people, although anyone can always contribute with an anonimous testimony by linking only the interview to the project where the interviewee collaborates. '''Manifestos''' exposes all kinds of perspectives about access, reactionary and progressive, that show how each new media present is transformed throughout the history of this genre. It is possibly the favorite literary genre of today's publics. Companies, governments, international organizations, artists, activists, scientists, journalists, hackers ... all of them seem to have something to say about domains, publics and access. New manifestos appear and old manifestos are forgotten, so this incomplete collection by definition offers a selection that hopes to be enriched with new contributions. Respecting the long history of the genre it is possible to include any manifesto dated before the second half of the 20th century where a position is expressed on the use and function of the mass media and the forms of access in force at that time. '''Library''' groups together books, articles, news, reports and any text dedicated to current forms of access and projects indexed in the wiki that are available for online consultation and downloading. It is another collection, incomplete by definition, that does not aspire to be exhaustive but invites those who wish to contribute to add new texts. Any document relevant to the current debates and reflections for the future of domains, publics and access is welcome. All of them are cataloged according to the Language(s), Starting Country(ies), Star Year, '''Authors''' and '''Publishers'''.

== '''Discussing''' ==

The reason for cataloguing, preserving and documenting projects responds to the fact that the limits of access to the domains of art, science, culture, economics, politics and technology have never been stable and will continue to change in the near future. In order to provide a broader picture for future generations of the different forms of access that are emerging now, the collection includes all types of projects that are not only heterogenous but also antagonistic. Regardless of whether these are public, private or civil society initiatives, for profit or non-profit, local or global, activist, artistic, scientific, etc., from the left to the right of the political spectrum, this wiki gathers examples of all of them. The historical limits of access are established not only by consensus but also by antagonism between different perspectives which fight with each other by limiting the access at a particular time and place. The wiki collects the terms that inform the current discussions around access without taking the side of any of them. By displaying this vocabulary in its plurality and organizing it by country, a tool is offered through which all stakeholders can participate in the discussion or gain an idea of the possibilities available in their own context to judge for themselves the risks and opportunities that each form of access and each project puts into play.

The importance given in the cataloguing to the public and private forms of access makes the absence of the commons stand out more strongly. It is not a matter of denying the renewal of the commons and the resurgence of collective and collaborative practices in the present but of placing them in the space of conflicts provoked by the nation state crisis. Both the global and neoliberal projects and the projects of local and community orientation share the questioning of public management. Highlighting, encouraging and informing the discussion around this particular situation that characterizes the present is a fundamental part of the tasks of the collection.

== '''Collaborating''' ==

In order to achieve this task the collection has been organized as a wiki where anyone who wants to contribute is welcome. We are looking for collaborators interested in becoming part of the research team. Collaboration may consist of cataloging a new project, correcting or expanding an entry, proposing new initiatives to be cataloged by leaving them “On hold”, uploading bibliography, conducting interviews and publishing them, including more manifests, sending suggestions and criticisms so that we can improve, carry out new activities in other places, translate the pages, etc. Only from the local experience can the global trends be complemented and discussed. If you are interested you can see more details in '''Open calls'''.

== '''Contact''' ==

'''p.sastre@correo.ler.uam.mx'''

Category:Workshops

2018-07-06T21:06:21Z

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Category:Social media

2018-07-06T21:05:28Z

Paz:

We’ve opened a page on Facebook and Diaspora* (but we have stopped using them for now).

'''Facebook:''' https://www.facebook.com/Dominios-publicos-y-acceso-648123695369070/

'''Diaspora*:''' https://diasp.org/people/186aee807dc101343014782bcb452bd5

Category:Publications

2018-07-06T21:04:29Z

Paz:

'''Sastre, P. (2017). Domains, Publics and Access. A Wiki In Progress On Access Archaeology.'''
'''''ISEA 2017 Bio-Creation and Peace Proceedings''.'''

[[File:2017 Domains Publics and Access. A Wiki.pdf|thumb|left]]

Domains, Publics and Access is an ongoing collection online of projects related to current access forms such as: open government, open design, citizen science, collaborative economy, commons, coops , crowdfunding, DIY, free culture, community currencies, p2p, piracy, etc. The main goal is to preserve initiatives that appear and disappear in different countries because each project is the declaration of a possible future. That's why the project as the poetics of social forms is studied by an access archaeology that explores the hypothesis of the emergence of new bottom-up institutions. The hypothesis is latent in the work of several authors, but Geert Lovink and Ned Ros-siter pose it explicitly around the online organized networks. They provide the theoretical framework for the qualitative textual analysis of the accountability, sustainability and scalability of different projects. The faceted classification adapted to a MediaWiki articulates the field work as a distributed analysis process, and shows how not only organized networks but also top-down networked organizations define the poetics of access forms. The result is an online common-pool resource that displays the historic and antagonistic limits of access and that can be used to develop new research questions –in and out of academia-through the integration of new facets and projects in a simple way. Keywords Archaeology of the present, media archaeology, bottom-up institutions , poetics of social forms.

File:2017 Domains Publics and Access. A Wiki.pdf

2018-07-06T21:04:07Z

Paz:

Category:Publications

2018-07-06T21:01:03Z

Paz:

'''Sastre, P. (2017). Domains, Publics and Access. A Wiki In Progress On Access Archaeology.'''
'''''ISEA 2017 Bio-Creation and Peace Proceedings''.'''

Domains, Publics and Access is an ongoing collection online of projects related to current access forms such as: open government, open design, citizen science, collaborative economy, commons, coops , crowdfunding, DIY, free culture, community currencies, p2p, piracy, etc. The main goal is to preserve initiatives that appear and disappear in different countries because each project is the declaration of a possible future. That's why the project as the poetics of social forms is studied by an access archaeology that explores the hypothesis of the emergence of new bottom-up institutions. The hypothesis is latent in the work of several authors, but Geert Lovink and Ned Ros-siter pose it explicitly around the online organized networks. They provide the theoretical framework for the qualitative textual analysis of the accountability, sustainability and scalability of different projects. The faceted classification adapted to a MediaWiki articulates the field work as a distributed analysis process, and shows how not only organized networks but also top-down networked organizations define the poetics of access forms. The result is an online common-pool resource that displays the historic and antagonistic limits of access and that can be used to develop new research questions –in and out of academia-through the integration of new facets and projects in a simple way. Keywords Archaeology of the present, media archaeology, bottom-up institutions , poetics of social forms.

Category:Publications

2018-07-06T21:00:15Z

Paz:

'''Sastre, P. (2017). Domains, Publics and Access. A Wiki In Progress On Access Archaeology.''''''''ISEA 2017 Bio-Creation and Peace Proceedings''.'''

Domains, Publics and Access is an ongoing collection online of projects related to current access forms such as: open government, open design, citizen science, collaborative economy, commons, coops , crowdfunding, DIY, free culture, community currencies, p2p, piracy, etc. The main goal is to preserve initiatives that appear and disappear in different countries because each project is the declaration of a possible future. That's why the project as the poetics of social forms is studied by an access archaeology that explores the hypothesis of the emergence of new bottom-up institutions. The hypothesis is latent in the work of several authors, but Geert Lovink and Ned Ros-siter pose it explicitly around the online organized networks. They provide the theoretical framework for the qualitative textual analysis of the accountability, sustainability and scalability of different projects. The faceted classification adapted to a MediaWiki articulates the field work as a distributed analysis process, and shows how not only organized networks but also top-down networked organizations define the poetics of access forms. The result is an online common-pool resource that displays the historic and antagonistic limits of access and that can be used to develop new research questions –in and out of academia-through the integration of new facets and projects in a simple way. Keywords Archaeology of the present, media archaeology, bottom-up institutions , poetics of social forms.

Category:Publications

2018-07-06T20:59:53Z

Paz:

[[ https://www.academia.edu/33578336/_2017_Domains_Publics_and_Access._A_Wiki_In_Progress_On_Access_Archaeology ||'''Sastre, P. (2017). Domains, Publics and Access. A Wiki In Progress On Access Archaeology.''''''''ISEA 2017 Bio-Creation and Peace Proceedings''.''']]

Domains, Publics and Access is an ongoing collection online of projects related to current access forms such as: open government, open design, citizen science, collaborative economy, commons, coops , crowdfunding, DIY, free culture, community currencies, p2p, piracy, etc. The main goal is to preserve initiatives that appear and disappear in different countries because each project is the declaration of a possible future. That's why the project as the poetics of social forms is studied by an access archaeology that explores the hypothesis of the emergence of new bottom-up institutions. The hypothesis is latent in the work of several authors, but Geert Lovink and Ned Ros-siter pose it explicitly around the online organized networks. They provide the theoretical framework for the qualitative textual analysis of the accountability, sustainability and scalability of different projects. The faceted classification adapted to a MediaWiki articulates the field work as a distributed analysis process, and shows how not only organized networks but also top-down networked organizations define the poetics of access forms. The result is an online common-pool resource that displays the historic and antagonistic limits of access and that can be used to develop new research questions –in and out of academia-through the integration of new facets and projects in a simple way. Keywords Archaeology of the present, media archaeology, bottom-up institutions , poetics of social forms.

Category:Manifestos

2018-07-06T20:57:45Z

Paz:

Manifestos exposes all kinds of perspectives about access, reactionary and progressive, that show how each new media present is transformed throughout the history of this genre. It is possibly the favorite literary genre of today's publics. Companies, governments, international organizations, artists, activists, scientists, journalists, hackers ... all of them seem to have something to say about domains, publics and access. New manifestos appear and old manifestos are forgotten, so this incomplete collection by definition offers a selection that hopes to be enriched with new contributions. Respecting the long history of the genre it is possible to include any manifesto dated before the second half of the 20th century where a position is expressed on the use and function of the mass media and the forms of access in force at that time.

Domains, Publics and Access

2018-07-06T20:46:30Z

Paz:

Category:Jaromil Rojo

2018-05-26T02:15:55Z

Paz: Created page with "Category:Authors"

[[Category:Authors]]

Jaromil Rojo

2018-05-26T02:15:39Z

Paz:

Held in Amsterdam by Paz Sastre on January 1, 2017.

'''Interview:'''

https://archive.org/details/Jaromil

'''Language:'''

English

'''Project:'''

Dyne https://www.dyne.org/

'''Collection:'''

https://dpya.org/wiki/index.php/Dyne.org

'''Curriculum vitae:'''

Philosophy of technology researcher, artist and software artisan whose creations are linked to the Free Software Foundation. Co-founder and CTO of Dyne.org a "think & do tank", a software studio with more than 10 years of experience in social and technological innovation.

'''Source:'''

https://jaromil.dyne.org/

[[Category:Interviews]]
[[Category:English]]
[[Category:Jaromil Rojo]]
[[Category:Holland]]
[[Category:2017]]

Jaromil Rojo

2018-05-26T02:15:11Z

Paz: Created page with "Held in Amsterdam by Paz Sastre on January 1, 2017. '''Interview:''' https://archive.org/details/Jaromil '''Language:''' English '''Project:''' Dyne https://www.dyne..."

Category:How to catalogue manifestos

2018-05-19T21:46:20Z

Paz: /* Filling out the index card */

== '''Creating the wiki page''' ==
[[File:Captura de pantalla 2017-02-25 16.03.04.png|thumbnail|right|An example of a new wiki page.]]

Creating a wiki page is very easy.

Type the manifesto’s title directly in the search box and press enter.

A new, editable page will open.

The manifesto’s page title must be written as follows:

http://dpya.org/en/index.php/Domains,_Publics_and_Access

http://dpya.org/wiki/index.php/

http://dpya.org/wiki/index.php/Year_-_Manifesto_title_-_Author's_name

'''Example:'''

https://dpya.org/en/index.php/2008_-_Guerrilla_Open_Access_Manifesto_-_Aaron_Swartz

'''Note:''' some manifestos doesn't specify about its date of creation, in this cases, we ask you to add four zeros at the date place (0000), later you only will have to follow the format already settled down (0000_-_Manifiesto_title_-_Author's_name).

'''The year that appears in the title is always the year of the first edition.'''

To start editing just click on the “edit this page” link right under the new page title.

== '''Filling out the index card''' ==
[[File:Indexcard.png|thumb|right|This is what a complex index card looks like]]

Each field is filled-out manually following the criteria below.

<big>'''Text'''</big> [HEADING / LEVEL 2 / BOLD / A-]

Full manifesto text is copied as long as the the manifesto’s length and editing allow for it.

When copying the text into the wiki, take into account the original layout might be lost, which happens often.

In these cases, the text will need to be edited again in the new wiki page following the original layout.

'''Important! Manifestos not written or translated into English are published in the original language.'''

'''A manifesto written or translated into Spanish, please, publish it also in the Spanish version of the wiki: dpya.org'''

<big>'''Context'''</big> [HEADER / LEVEL 2 / NEGRITAS / A-]

In this section we ask you to include complementary information to the manifesto, that is, historical data such as place and year of publication, with what purpose it was written, anecdotes about its creation, events in which it was presented, places where it was read it, as well as its subsequent repercussion.

<big>'''Authors'''</big> [HEADER / LEVEL 2 / NEGRITAS / A-]

A brief historical review should be written about the author of the manifesto, taking into account that some texts were made by more than one person, if that's the case, it is important to take into account the following:

If the manifesto was made by a group, association or collective, it is important to indicate the year in which the authors started working together and if they are still active, otherwise, and if the information is known, indicate until what date they were been presented activities together. When authorship comes from a collective it is important to indicate in which country their work took place.

For both cases, the information that may be relevant is related to the author's birthplace (or where the collective was born), where they currently lives, in what spaces their work has been presented, other activities, artistic or literary movements which the author or authors has been linked to, important projects, etc.

<big>'''References'''</big>[HEADING / LEVEL 2 / BOLD / A-]

In this part of the index card we ask you to make a list of the consulted sources for the fiels of '''Authors''' and '''Context''' using the APA formatting rules but if the information comes from a webpage you just have to copy and paste the consulted link.

'''The sources should be numerated under the next pattern:'''

(1) Reference 1

(2) Reference 2

(3) Reference 3

<big>'''File'''</big> [HEADING / LEVEL 2 / BOLD / A-]

THE MANIFESTO FILE WILL BE ADDED IN THIS SPACE AFTER UPLOADING IT TO THE WIKI (see instructions below)

'''Note:''' include the file is not always necessary but it's important when the manifesto overcomes the number of characters allowed in dpya.org/en or by style issues in text features.

<big>'''Links'''</big> [HEADING / LEVEL 2 / BOLD / A-]

'''URL:''' [BOLD] http://copy_here_the_url_where_the_manifest_was_found

'''Wayback Machine:''' [BOLD] In order to preserve the manifesto, its URL is copied in the Internet Archive’s Service with the same name: http://archive.org/web/ Once the manifesto URL is copied, the file’s new URL is copied here. In some cases, sites are protected and copying them is not allowed. To make note of this when it happens, copy the message displayed by the Wayback Machine.

== '''Cataloguing Manifestos''' ==

[[File:Screenshot-dpya.org 2017-02-23 16-28-15.png|thumbnail|right|Manifesto cataloguing should follow the next order.]]
[[File:Categories2.png|thumbnail|right|The following are categories for Kit Galloway & Sherrie Rabinowitz manifesto.]]

Cataloguing is done following the main menu’s categories and subcategories.

This task is to be performed manually, typing in the corresponding categories and subcategories at the bottom of the page.

Corresponding categories and subcategories are typed following the order in which they appear on the main menu.

Manifesto cataloguing follows the order and criteria described next.

'''1st Category “Manifestos”'''

This first category is the most important. Without it the manifesto will not be indexed as part of “Documentation” and it won’t appear in this section. It will be lost to the wiki’s records.

'''2nd Category “Language(s)”'''

The language in which the manifesto has been published is recorded here. If the manifesto is available in more than one language, please catalogue all of them. This allows the manifesto to be associated with the different languages that make up the subcategories in this section.

'''3rd Category “Starting Country(ies)”'''

Publishing countries are added here. This allows the manifesto to be associated to the different countries that make up the subcategories in this section.

'''4th Category “Starting Year”'''

Publishing year is added here. This allows the manifesto to be associated to the different years that make up the subcategories in this section.

'''5th Category “Authors”'''

All of the manifesto’s participating authors are recorded here by First Name, Last Name. This allows the manifesto to be associated to the different authors that make up the subcategories in this section.

'''6th Category “Publishers”'''

All of the manifesto publishers or editors are recorded here. This allows the manifesto to be associated to the different publishers that make up the subcategories in this section.
Since many manifestos are self-published and self-distributed on the web, it is not always possible to locate a manifesto’s specific publisher. For example, Aaron Swartz’s manifesto does not have a publisher, thus it is not included in this category.

== '''Adding the image''' ==

The index card includes an image of the manifesto.

To extract a manifesto image, a browser add-on called Nimbus Screen Screenshot might be used. The add-on, available for free for Mozilla, Chrome, Android and PC can be dowloaded at the following link:
https://nimbus.everhelper.me/screenshot.php
Many other existing programs offering the same functions might be used.

Once the manifesto screenshot has been taken, the file is uploaded to the wiki following the instructions on “how to upload a file”:
http://dpya.org/en/index.php/How_to_upload_a_file

Keep in mind to select “Align:Right”, “Format:thumbnail” for the manifesto image.

== '''Uploading the file''' ==

Follow the instructions on “How to upload a file”: http://dpya.org/en/index.php/How_to_upload_a_file

Category:How to catalogue manifestos

2018-03-02T22:47:30Z

Paz: /* Creating the wiki page */

== '''Creating the wiki page''' ==
[[File:Captura de pantalla 2017-02-25 16.03.04.png|thumbnail|right|An example of a new wiki page.]]

Creating a wiki page is very easy.

Type the manifesto’s title directly in the search box and press enter.

A new, editable page will open.

The manifesto’s page title must be written as follows:

http://dpya.org/en/index.php/Domains,_Publics_and_Access

http://dpya.org/wiki/index.php/

http://dpya.org/wiki/index.php/Year_Manifesto_title_Author's_name

'''Example:'''

https://dpya.org/en/index.php/2008_-_Guerrilla_Open_Access_Manifesto_-_Aaron_Swartz

'''Nota:''' some manifestos doesn't specify about its date of creation, in this cases, we ask you to add four zeros at the beggining (0000) and the abbreviation of "no date" (n.d), later you only will have to follow the format already settled down (0000 (S.F)_Título_del_manifiesto_Nombre_del_autor).

'''The year that appears in the title is always the year of the first edition.'''

To start editing just click on the “edit this page” link right under the new page title.

== '''Filling out the index card''' ==
[[File:Screenshot-dpya.org-SwartzAaronenglish-2018.02.16-17-35-07.png|thumb|right|This is what a complex index card looks like]]

Each field is filled-out manually following the criteria below.

'''Text''' [HEADING / LEVEL 2 / BOLD / A-]

Full manifesto text is copied as long as the the manifesto’s length and editing allow for it.

When copying the text into the wiki, take into account the original layout might be lost, which happens often.

In these cases, the text will need to be edited again in the new wiki page following the original layout.

'''Important! Manifestos not written or translated into English are published in the original language.'''

'''A manifesto written or translated into Spanish, please, publish it also in the Spanish version of the wiki: dpya.org'''

'''File''' [HEADING / LEVEL 2 / BOLD / A-]

THE MANIFESTO FILE WILL BE ADDED IN THIS SPACE AFTER UPLOADING IT TO THE WIKI (see instructions below)

'''Links''' [HEADING / LEVEL 2 / BOLD / A-]

'''URL:''' [BOLD] http://copy_here_the_url_where_the_manifest_was_found

'''Wayback Machine:''' [BOLD] In order to preserve the manifesto, its URL is copied in the Internet Archive’s Service with the same name: http://archive.org/web/ Once the manifesto URL is copied, the file’s new URL is copied here. In some cases, sites are protected and copying them is not allowed. To make note of this when it happens, copy the message displayed by the Wayback Machine.

== '''Cataloguing Manifestos''' ==

[[File:Screenshot-dpya.org 2017-02-23 16-28-15.png|thumbnail|right|Manifesto cataloguing should follow the next order.]]
[[File:Screenshot-dpya.org 2017-02-23 16-30-51.png|thumbnail|right|The following are categories for Aaron Swartz’s manifesto.]]

Cataloguing is done following the main menu’s categories and subcategories.

This task is to be performed manually, typing in the corresponding categories and subcategories at the bottom of the page.

Corresponding categories and subcategories are typed following the order in which they appear on the main menu.

Manifesto cataloguing follows the order and criteria described next.

'''1st Category “Manifestos”'''

This first category is the most important. Without it the manifesto will not be indexed as part of “Documentation” and it won’t appear in this section. It will be lost to the wiki’s records.

'''2nd Category “Language(s)”'''

The language in which the manifesto has been published is recorded here. If the manifesto is available in more than one language, please catalogue all of them. This allows the manifesto to be associated with the different languages that make up the subcategories in this section.

'''3rd Category “Starting Country(ies)”'''

Publishing countries are added here. This allows the manifesto to be associated to the different countries that make up the subcategories in this section.

'''4th Category “Starting Year”'''

Publishing year is added here. This allows the manifesto to be associated to the different years that make up the subcategories in this section.

'''5th Category “Authors”'''

All of the manifesto’s participating authors are recorded here by First Name, Last Name. This allows the manifesto to be associated to the different authors that make up the subcategories in this section.

'''6th Category “Publishers”'''

All of the manifesto publishers or editors are recorded here. This allows the manifesto to be associated to the different publishers that make up the subcategories in this section.
Since many manifestos are self-published and self-distributed on the web, it is not always possible to locate a manifesto’s specific publisher. For example, Aaron Swartz’s manifesto does not have a publisher, thus it is not included in this category.

== '''Adding the image''' ==

The index card includes an image of the manifesto.

To extract a manifesto image, a browser add-on called Nimbus Screen Screenshot might be used. The add-on, available for free for Mozilla, Chrome, Android and PC can be dowloaded at the following link:
https://nimbus.everhelper.me/screenshot.php
Many other existing programs offering the same functions might be used.

Once the manifesto screenshot has been taken, the file is uploaded to the wiki following the instructions on “how to upload a file”:
http://dpya.org/en/index.php/How_to_upload_a_file

Keep in mind to select “Align:Right”, “Format:thumbnail” for the manifesto image.

== '''Uploading the file''' ==

Follow the instructions on “How to upload a file”: http://dpya.org/en/index.php/How_to_upload_a_file

Domains, Publics and Access:About

2017-06-30T21:27:15Z

Paz: /* Budget */

== How this all started ==

This collection of forms of access for all audiences in the domains of art, science, culture, economics, politics and technology sprung from an invitation from Aisel Wicab to the person now writing this story. Being aware of my renowned obsession with the subject, Aisel invited me to set out an archiving project. The idea centered around building an archive dedicated to contemporary art that could be browsed online, since fostering these kinds of artistic practices is the mission of Fundación Alumnos 47, especially those based on education. The problem was, online access is not easy to achieve without a sizeable budget to allow for respecting current intelectual property agreements and a great amount of time alloted to negotiate each and every piece. In order to have an archive dedicated to a group of works of art, either their acquisition or reproduction and distribution rights have to be negotiated or, failing this, focus on those of public (albeit not so contemporary) domain. Another idea had to do with facilitating text consultation. If the archive were to be dedicated to reference books, catalogs are nothing, if not the most similar to open access, allowing for consultation and use of art publications. I take this oportunity to throw around a suggestion for open access to the dusty, forgotten catalogues of historical exhibitions in museums around the world. That would’ve been a great project: a suggestive image of the past displayed onscreen.

It is true some art publications are trying out new, open licenses such as Creative Commons. It is also true a significant segment of contemporary art is available online. But, it is also true we speak of a reduced number of texts and practices in both cases. To overcome the access fence, everything pointed to devoting oneself to the public domain and designing a project closely related to the digital humanities. In short, coming up with a solution to the proposal on the terms, timeline and budget laid out might not have been impossible, but the questions that kept arising guided the proposal elsewhere, without my noticing it. In the search for possible projects, every question led to the same problem over and over again, that of access.

From and art history perspective, the problem with access is not new. Art’s access to all areas of life is the burdensome inheritance of the first vanguards that artists and researchers have been struggling with ever since. Perhaps the matter of life’s access to art is a more current one. Regardless of whether it’s about politics, fashion, economics, food, insect sexuality, climate change, war, molecular physics, hunger or the service industry, today’s art is present, standing out in exhibitions, performances, residencies, biennials… linking artistic production with topical issues. Along this line, the old rule for blending art into life seems to have been reversed. Now, it’s become about blending life into art, as if art were the BBC. The result: framing the access problem in relation to contemporary art implied asking not about access to art, but access to everything else.

Following these concerns, the research for ''Domains, publics and access'' arose in january 2015. A collaboration between [http://alumnos47.org/ Fundación Alumnos47] and the Arts and Humanities Department at [http://www.ler.uam.mx/ Universidad Autónoma Metropolitana - Unidad Lerma].

Paz Sastre

Mexico City, August 8th, 2016.

== Budget ==
{| class="wikitable"
|-
! Listing !! Cost Unit !! # of Units !! Mexican Pesos
|-
| Wordpress Premium || $1,626.22 year || 1 year || $1,626.22
|-
| Godaddy Domain || $169.00 year|| 3 years || $507
|-
| Server 1 || $452.40 year || 1 year || $452.40
|-
| Server 2 || $4,385 x year || 1 year || $4,385
|-
| Text Publishing || $5,000.00 article || 4 articles || $20,000.00
|-
| Gabriela Ceja - Research Assistant || $3,000.00 month || 17 months || $51,000.00
|-
| Miguel Errazu - Editing || $4,000 x month || 2 months || $8,000
|-
| Eva Gómez - Editing || $4,000 x month || 4 months || $16,000
|-
| Paz Sastre - Coordinator || $20,000.00 project || project || $20,000.00
|-
| Alan Lazalde - Programming || $16,000.00 wiki || wiki || $16,000.00
|-
| Postcards || $2.494 || 1000 || $2,494.00
|-
| Meetings Moderators || $3,000.00 1 meeting || 12 meetings || $36,000.00
|-
| Meetings Streaming || $3,364.00 || 12 meetings || $40,368
|-
| Nastia Huerta || $0,40 word || 26,080 words || $15,520.00
|-
|}

Budget implemented from January 2015 to June 2017: $196,352.62

== About us ==

=== Coordinator / Paz Sastre (Madrid, 1975) ===

Paz is in charge of designing and coordinating the project, selecting initiatives, tools, manifestos, literature, references and potential interviewees. She is reponsible for editing the wiki and for the conferences to be carried out in Mexico City as part of the project’s on-site activities.

She works as a senior research professor of the Arts and Humanities Department at Universidad Autónoma Metropolitana - Lerma, for the Digital Arts and Communications degree. She’s been a member of Laboratorio del Procomún México and is part of Ícono14, an independent research group dedicated to aesthetics and new media in Madrid. She has worked on matters regarding archiving, information society, bureaucracy and public utility through the lens of visual studies. Most of her papers can be consulted online. She has collaborated on projects dedicated to the building, recovery and access of diferent archives, such as the Huichol people’s cultural heritage, Ana Victoria Jiménez’s memoirs on Mexican feminist activism, Laboratorio del Procomún México’s failed repository and Campechana Mental, a digital literacy project at the Rancho Electrónico hackerspace.

=== Research Assistant / Gabriela Ceja (Mexico City, 1980) ===

From 2015 to March 2016 she has been working on writing the project’s entries, uploading part of the literature and publishing many of the manifestos available in the wiki for consultation. She is also the voice you will hear conducting several interviews.

Gabriela is a visual artist, researcher and professor, a graduate of the National School of Visual Arts (ENAP) at the National Autonomous University of Mexico (UNAM), with a degree in Art History by the Sor Juana Cloister University (UCSJ). Her work in art and education centers around the concepts of work, identity and alienation, developed mainly in Mexico City and New York, exploring work environments, conducting psychosocial and inter-relational research to expand worker’s testimonies and realities. With art and education as tools for social transformation, she has designed multidisciplinary educational programs for the broadening of audiences and spaces. She has taught classes at UNAM, the Mexican Youth Institute, Casa Vecina, ENAP, Atelier Romo and Casa del Lago, among others. Along with Fran Ilich, she is also part of the Aridoamerica project, an alternative economy-praticing cooperative in constant dialgue and interaction with multiple art groups and international activism. As part of a recently started Masters in Labor Studies from the City University of New York she is currently conducting the Workers Art Workshop, a educational arts project dedicated to the development and expression of the working class.

=== Programming / Alan Lazalde (Mexico City, 1980) ===

Alan is responsible for the wiki’s setup and management, his journey across three different servers, rescuing mischivieous robots that had deleted a large amount of the site’s content and for being a buffer to my phobia of wikis and their programming.

He’s been the project’s technical consultant since mid-2015 when, because of him, we deciding on using MediaWiki. He is currently the Innovations Manager at kubo.financiero, a P2P lending company where he develops projects on technology, communications and design. He graduated from Universidad Autónoma Metropolitana (UAM) in 2009 with a Masters in Science and an Internet specialty. From 2010 to 2013 he was an engineering professor at Universidad Iberoamericana and UAM - Iztapalapa. He has also volunteered in free culture projects, such as SEGIB’s Innovación Ciudadana, FLOK Society in Ecuador and Goteo in Spain. From 2014 to 2016 he was the spokesperson for Wikimedia Mexico. Currently, he writes about digital culture for Eldiario.es and the blog published by Centro de Cultura Contemporánea de Barcelona. Since 2009, he has been teaching tech courses designed for cultural agents indepently, with support from institutions such as Centro Cultural de España en México.

=== Production / Aisel Wicab (Mexico City, 1985) ===

Aisel is the project’s main supporter and has been with us from the beginning as a liason for Fundación Alumnos 47.
She is an artist and cultural agent. Her production stems from collaborative processes towards technical appropriation, drawing, experimental film, animation, installations and permormance interventions in educational spaces. She is a co-founder of Luz y Fuerza, a light-examining collective she’s worked with in Mexico City since 2012. Luz y Fuerza was part of an international live-cinema group called Trinchera Ensamble from 2006 to 2011. She has conducted many workshop at home and abroad. Her work has been showcased in locations such as Centro Nacional de las Artes, Teatro de la Ciudad Esperanza Iris, Cineteca Nacional, Museo del Chopo, Museo de la Ciudad de México, Centro Cultural de España both in Mexico and Argentina, the FAC and the Engelman Ost Collection in Uruguay, Cinema La Cleff in Paris, the Sammlung Essl and the MuseumsQuartier in Vienna, Austria. She’s been supported through grants by the Multimedia Center at CENART-INBA in 2012, the BBVA-Bancomer Foundation in 2009 and the PAPIIT-UNAM program from 2007 to 2009.

=== Production / Dora Bartilotti (Veracruz, 1988) ===

Dora enters the project a little bit later to help as to coordinate the Meetings and since then she becomes a full member.
She is a Mexican audiovisual artist who works and lives in Mexico City. She studied Design and Visual Communication at the Faculty of Arts and Design (UNAM) with specialization in Audiovisual and Multimedia. His production and research is developed in the field of design, audiovisual, electronic and performing art practices. She is co-founder and General Coordinator of BINARIO: International Festival of Art, Design and New Media Culture and was member of transdisciplinary Mexican collective #FFFF (2011-2014). He has taught courses and conferences about art-technology hybridization and in relation to the transdisciplinary creation, as well as participated in exhibitions and audiovisual presentations in spaces and events such as: Laboratorio Arte Alameda, Bellas Artes, Franz Mayer Museum, Intel Computer Clubhouse Mx, Centro Multimedia, Centro de Cultura Digital, Cineteca Nacional, FAD-UNAM, MUTEK Mx, Symposium on Music and Code / * VIVO * /, among others. In 2015 it was selected in the category of Technology, for the "We are creators" project of Chrysler 200. He is currently part of the Educational Research area at Alumnos47 Foundation.

Open Culture

2017-06-30T21:18:31Z

Paz: /* Description */

[[file:Screenshot-www openculture com 2016-08-18 18-23-18.png| thumbnail |right]]

== '''Self-portrait''' ==

''What is Open Culture’s Mission?''

''Open Culture brings together high-quality cultural & educational media for the worldwide lifelong learning community. Web 2.0 has given us great amounts of intelligent audio and video. It’s all free. It’s all enriching. But it’s also scattered across the web, and not easy to find. Our whole mission is to centralize this content, curate it, and give you access to this high quality content whenever and wherever you want it. Some of our major resource collections include:''

''950 Free Online Courses from Top Universities''

''675 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc.''

''550 Free Audio Books: Download Great Books for Free''

''600 Free eBooks for iPad, Kindle & Other Devices''

''MOOCs from Great Universities (Many With Certificates)''

''Learn 46 Languages Online for Free: Spanish, Chinese, English & More''

''200 Free Kids Educational Resources: Video Lessons, Apps, Books, Websites & More''

(http://www.openculture.com/faq)

== '''Description''' ==

Open Culture is an online platform that offers specialized content for culture and education, such as academic texts, images, video and audio. The project was created in 2006 by Dan Colman, director of Continuing Education Department at Stanford University and a scholar whose work relates to the politics and development of open access and shared knowledge.

Open Culture makes available specialized materials of multiple disciplines such as archaeology, ancient culture, literature, business, politics, religion, history, engineering, or chemistry, and offers online courses with academic recognition. It also offers free language lessons of English, German, Russian, Arabic, Spanish, Chinese, Italian and more.

The contents offered at Open Culture are organised around the categories: Audiobooks, Online Courses, MOOCs, Films, Languages, Text Books, and eBooks. Each of these categories is in turn organised in various sub-categories to help searching contents. For example, under the general cateogory “Films” you can find more than 1,100 links to online movies, divided in categories as broad as “Comedy & Drama”, "Horror Movies & Hitchcock”, “Westerns”, “Martial Art Movies”, etc.

The project is financed through ads placed in their website, as well as individual and voluntary donations via PayPal, or monthly subscriptions.

== '''Links''' ==

'''URL:''' http://www.openculture.com/

'''Wayback Machine:''' https://web.archive.org/web/*/http://www.openculture.com/

[[Category:Projects]]
[[Category:Culture]]
[[Category:English]]
[[Category:USA]]
[[Category:2006]]
[[Category:Open content]]
[[Category:Open education]]
[[Category:MOOC]]
[[Category:Nonprofit]]
[[Category:LLC. Limited Liability Company]]

Open Culture

2017-06-30T20:58:29Z

Paz: /* Description */

[[file:Screenshot-www openculture com 2016-08-18 18-23-18.png| thumbnail |right]]

== '''Self-portrait''' ==

''What is Open Culture’s Mission?''

''Open Culture brings together high-quality cultural & educational media for the worldwide lifelong learning community. Web 2.0 has given us great amounts of intelligent audio and video. It’s all free. It’s all enriching. But it’s also scattered across the web, and not easy to find. Our whole mission is to centralize this content, curate it, and give you access to this high quality content whenever and wherever you want it. Some of our major resource collections include:''

''950 Free Online Courses from Top Universities''

''675 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc.''

''550 Free Audio Books: Download Great Books for Free''

''600 Free eBooks for iPad, Kindle & Other Devices''

''MOOCs from Great Universities (Many With Certificates)''

''Learn 46 Languages Online for Free: Spanish, Chinese, English & More''

''200 Free Kids Educational Resources: Video Lessons, Apps, Books, Websites & More''

(http://www.openculture.com/faq)

== '''Description''' ==

Open Culture is an online platform that offers specialized content for culture and education, such as academic texts, images, video and audio. The project was created in 2006 by Dan Colman, director of Continuing Education Department at Stanford University and a scholar whose work relates to the politics and development of open access and shared knowledge.

Open culture makes available specialized materials of multiple disciplines such as archaeology, ancient culture, literature, business, politics, religion, history, engineering, or chemistry, and offers online courses with academic recognition. It also offers language courses such as English, German, Russian, Arabic, Spanish, Chinese and Italian.

The contents offered at Open Culture are organised around the categories: Audiobooks, Online Courses, MOOCs, Films, Languages, Text Books, and eBooks. Each of these categories is in turn organised in various sub-categories to help searching contents. For example, under the general cateogory “Films” you can find more than 1,100 links to online movies, divided in categories as broad as “Comedy & Drama”, "Horror Movies & Hitchcock”, “Westerns”, “Martial Art Movies”, etc.

The project is financed through ads placed in their website, as well as individual and voluntary donations via PayPal, or monthly subscriptions.

== '''Links''' ==

'''URL:''' http://www.openculture.com/

'''Wayback Machine:''' https://web.archive.org/web/*/http://www.openculture.com/

[[Category:Projects]]
[[Category:Culture]]
[[Category:English]]
[[Category:USA]]
[[Category:2006]]
[[Category:Open content]]
[[Category:Open education]]
[[Category:MOOC]]
[[Category:Nonprofit]]
[[Category:LLC. Limited Liability Company]]

Open Culture

2017-06-30T20:52:52Z

Paz: /* Links */

[[file:Screenshot-www openculture com 2016-08-18 18-23-18.png| thumbnail |right]]

== '''Self-portrait''' ==

''What is Open Culture’s Mission?''

''Open Culture brings together high-quality cultural & educational media for the worldwide lifelong learning community. Web 2.0 has given us great amounts of intelligent audio and video. It’s all free. It’s all enriching. But it’s also scattered across the web, and not easy to find. Our whole mission is to centralize this content, curate it, and give you access to this high quality content whenever and wherever you want it. Some of our major resource collections include:''

''950 Free Online Courses from Top Universities''

''675 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc.''

''550 Free Audio Books: Download Great Books for Free''

''600 Free eBooks for iPad, Kindle & Other Devices''

''MOOCs from Great Universities (Many With Certificates)''

''Learn 46 Languages Online for Free: Spanish, Chinese, English & More''

''200 Free Kids Educational Resources: Video Lessons, Apps, Books, Websites & More''

(http://www.openculture.com/faq)

== '''Description''' ==

Open Culture is an online platform that offers specialized content for culture and education, such as academic texts, images, video and audio. The organisation was created in 2006 by Dan Colman, director of continuing education at Stanford University and a scholar whose work relates to the politics and development of open access and shared knowledge.

Open culture makes available specialized materials of multiple disciplines such as archaeology, ancient culture, literature, business, politics, religion, history, engineering, or chemistry, and offers online courses with academic recognition. It also offers language courses such as English, German, Russian, Arabic, Spanish, Chinese and Italian.

The contents offered at Open Culture are organised around the next categories: audiobooks, online courses, MOOCs (Massive Open Online Courses), Films, Languages, Text books, and ebooks.

Each of these categories is in turn organised in various sub-categories to help searching contents. For example, under the general cateogory “Films” you can find more than 1,100 links to online movies, divided in categories as broad as “Comedy & Drama”, Horror Movies & Hitchcock”, “Westerns”, “Martial Art Movies”, etc.

The project is financed through ads placed in their website, as well as individual and voluntary donations via PayPal, or monthly subscriptions.

== '''Links''' ==

'''URL:''' http://www.openculture.com/

'''Wayback Machine:''' https://web.archive.org/web/*/http://www.openculture.com/

[[Category:Projects]]
[[Category:Culture]]
[[Category:English]]
[[Category:USA]]
[[Category:2006]]
[[Category:Open content]]
[[Category:Open education]]
[[Category:MOOC]]
[[Category:Nonprofit]]
[[Category:LLC. Limited Liability Company]]

Open Culture

2017-06-30T20:44:31Z

Paz: Paz moved page Open culture to Open Culture without leaving a redirect

[[file:Screenshot-www openculture com 2016-08-18 18-23-18.png| thumbnail |right]]

== '''Self-portrait''' ==

''What is Open Culture’s Mission?''

''Open Culture brings together high-quality cultural & educational media for the worldwide lifelong learning community. Web 2.0 has given us great amounts of intelligent audio and video. It’s all free. It’s all enriching. But it’s also scattered across the web, and not easy to find. Our whole mission is to centralize this content, curate it, and give you access to this high quality content whenever and wherever you want it. Some of our major resource collections include:''

''950 Free Online Courses from Top Universities''

''675 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc.''

''550 Free Audio Books: Download Great Books for Free''

''600 Free eBooks for iPad, Kindle & Other Devices''

''MOOCs from Great Universities (Many With Certificates)''

''Learn 46 Languages Online for Free: Spanish, Chinese, English & More''

''200 Free Kids Educational Resources: Video Lessons, Apps, Books, Websites & More''

(http://www.openculture.com/faq)

== '''Description''' ==

Open Culture is an online platform that offers specialized content for culture and education, such as academic texts, images, video and audio. The organisation was created in 2006 by Dan Colman, director of continuing education at Stanford University and a scholar whose work relates to the politics and development of open access and shared knowledge.

Open culture makes available specialized materials of multiple disciplines such as archaeology, ancient culture, literature, business, politics, religion, history, engineering, or chemistry, and offers online courses with academic recognition. It also offers language courses such as English, German, Russian, Arabic, Spanish, Chinese and Italian.

The contents offered at Open Culture are organised around the next categories: audiobooks, online courses, MOOCs (Massive Open Online Courses), Films, Languages, Text books, and ebooks.

Each of these categories is in turn organised in various sub-categories to help searching contents. For example, under the general cateogory “Films” you can find more than 1,100 links to online movies, divided in categories as broad as “Comedy & Drama”, Horror Movies & Hitchcock”, “Westerns”, “Martial Art Movies”, etc.

The project is financed through ads placed in their website, as well as individual and voluntary donations via PayPal, or monthly subscriptions.

== '''Links''' ==

'''URL:''' http://www.openculture.com/

'''Wayback Machine:''' https://web.archive.org/web/*/http://www.openculture.com/

[[Category:Projects]]
[[Category:Culture]]
[[Category:English]]
[[Category:USA]]
[[Category:2006]]
[[Category:Open content]]
[[Category:Open education]]
[[Category:MOOC]]
[[Category:Profit]]
[[Category:LLC. Limited Liability Company]]

Domains, Publics and Access:About

2017-06-28T23:05:07Z

Paz: /* Budget */

== How this all started ==

This collection of forms of access for all audiences in the domains of art, science, culture, economics, politics and technology sprung from an invitation from Aisel Wicab to the person now writing this story. Being aware of my renowned obsession with the subject, Aisel invited me to set out an archiving project. The idea centered around building an archive dedicated to contemporary art that could be browsed online, since fostering these kinds of artistic practices is the mission of Fundación Alumnos 47, especially those based on education. The problem was, online access is not easy to achieve without a sizeable budget to allow for respecting current intelectual property agreements and a great amount of time alloted to negotiate each and every piece. In order to have an archive dedicated to a group of works of art, either their acquisition or reproduction and distribution rights have to be negotiated or, failing this, focus on those of public (albeit not so contemporary) domain. Another idea had to do with facilitating text consultation. If the archive were to be dedicated to reference books, catalogs are nothing, if not the most similar to open access, allowing for consultation and use of art publications. I take this oportunity to throw around a suggestion for open access to the dusty, forgotten catalogues of historical exhibitions in museums around the world. That would’ve been a great project: a suggestive image of the past displayed onscreen.

It is true some art publications are trying out new, open licenses such as Creative Commons. It is also true a significant segment of contemporary art is available online. But, it is also true we speak of a reduced number of texts and practices in both cases. To overcome the access fence, everything pointed to devoting oneself to the public domain and designing a project closely related to the digital humanities. In short, coming up with a solution to the proposal on the terms, timeline and budget laid out might not have been impossible, but the questions that kept arising guided the proposal elsewhere, without my noticing it. In the search for possible projects, every question led to the same problem over and over again, that of access.

From and art history perspective, the problem with access is not new. Art’s access to all areas of life is the burdensome inheritance of the first vanguards that artists and researchers have been struggling with ever since. Perhaps the matter of life’s access to art is a more current one. Regardless of whether it’s about politics, fashion, economics, food, insect sexuality, climate change, war, molecular physics, hunger or the service industry, today’s art is present, standing out in exhibitions, performances, residencies, biennials… linking artistic production with topical issues. Along this line, the old rule for blending art into life seems to have been reversed. Now, it’s become about blending life into art, as if art were the BBC. The result: framing the access problem in relation to contemporary art implied asking not about access to art, but access to everything else.

Following these concerns, the research for ''Domains, publics and access'' arose in january 2015. A collaboration between [http://alumnos47.org/ Fundación Alumnos47] and the Arts and Humanities Department at [http://www.ler.uam.mx/ Universidad Autónoma Metropolitana - Unidad Lerma].

Paz Sastre

Mexico City, August 8th, 2016.

== Budget ==
{| class="wikitable"
|-
! Listing !! Cost Unit !! # of Units !! Mexican Pesos
|-
| Wordpress Premium || $1,626.22 year || 1 year || $1,626.22
|-
| Godaddy Domain || $169.00 year|| 3 years || $507
|-
| Server 1 || $452.40 year || 1 year || $452.40
|-
| Server 2 || $4,385 x year || 1 year || $4,385
|-
| Text Publishing || $5,000.00 article || 4 articles || $20,000.00
|-
| Gabriela Ceja - Research Assistant || $3,000.00 month || 17 months || $51,000.00
|-
| Miguel Errazu - Editing || $4,000 x month || 2 months || $8,000
|-
| Eva Gómez - Editing || $4,000 x month || 2 months || $8,000
|-
| Paz Sastre - Coordinator || $20,000.00 project || project || $20,000.00
|-
| Alan Lazalde - Programming || $16,000.00 wiki || wiki || $16,000.00
|-
| Postcards || $2.494 || 1000 || $2,494.00
|-
| Meetings Moderators || $3,000.00 1 meeting || 12 meetings || $36,000.00
|-
| Meetings Streaming || $3,364.00 || 12 meetings || $40,368
|-
| Nastia Huerta || $0,40 word || 26,080 words || $15,520.00
|-
|}

Budget implemented from January 2015 to June 2017: $188,352.62

== About us ==

=== Coordinator / Paz Sastre (Madrid, 1975) ===

Paz is in charge of designing and coordinating the project, selecting initiatives, tools, manifestos, literature, references and potential interviewees. She is reponsible for editing the wiki and for the conferences to be carried out in Mexico City as part of the project’s on-site activities.

She works as a senior research professor of the Arts and Humanities Department at Universidad Autónoma Metropolitana - Lerma, for the Digital Arts and Communications degree. She’s been a member of Laboratorio del Procomún México and is part of Ícono14, an independent research group dedicated to aesthetics and new media in Madrid. She has worked on matters regarding archiving, information society, bureaucracy and public utility through the lens of visual studies. Most of her papers can be consulted online. She has collaborated on projects dedicated to the building, recovery and access of diferent archives, such as the Huichol people’s cultural heritage, Ana Victoria Jiménez’s memoirs on Mexican feminist activism, Laboratorio del Procomún México’s failed repository and Campechana Mental, a digital literacy project at the Rancho Electrónico hackerspace.

=== Research Assistant / Gabriela Ceja (Mexico City, 1980) ===

From 2015 to March 2016 she has been working on writing the project’s entries, uploading part of the literature and publishing many of the manifestos available in the wiki for consultation. She is also the voice you will hear conducting several interviews.

Gabriela is a visual artist, researcher and professor, a graduate of the National School of Visual Arts (ENAP) at the National Autonomous University of Mexico (UNAM), with a degree in Art History by the Sor Juana Cloister University (UCSJ). Her work in art and education centers around the concepts of work, identity and alienation, developed mainly in Mexico City and New York, exploring work environments, conducting psychosocial and inter-relational research to expand worker’s testimonies and realities. With art and education as tools for social transformation, she has designed multidisciplinary educational programs for the broadening of audiences and spaces. She has taught classes at UNAM, the Mexican Youth Institute, Casa Vecina, ENAP, Atelier Romo and Casa del Lago, among others. Along with Fran Ilich, she is also part of the Aridoamerica project, an alternative economy-praticing cooperative in constant dialgue and interaction with multiple art groups and international activism. As part of a recently started Masters in Labor Studies from the City University of New York she is currently conducting the Workers Art Workshop, a educational arts project dedicated to the development and expression of the working class.

=== Programming / Alan Lazalde (Mexico City, 1980) ===

Alan is responsible for the wiki’s setup and management, his journey across three different servers, rescuing mischivieous robots that had deleted a large amount of the site’s content and for being a buffer to my phobia of wikis and their programming.

He’s been the project’s technical consultant since mid-2015 when, because of him, we deciding on using MediaWiki. He is currently the Innovations Manager at kubo.financiero, a P2P lending company where he develops projects on technology, communications and design. He graduated from Universidad Autónoma Metropolitana (UAM) in 2009 with a Masters in Science and an Internet specialty. From 2010 to 2013 he was an engineering professor at Universidad Iberoamericana and UAM - Iztapalapa. He has also volunteered in free culture projects, such as SEGIB’s Innovación Ciudadana, FLOK Society in Ecuador and Goteo in Spain. From 2014 to 2016 he was the spokesperson for Wikimedia Mexico. Currently, he writes about digital culture for Eldiario.es and the blog published by Centro de Cultura Contemporánea de Barcelona. Since 2009, he has been teaching tech courses designed for cultural agents indepently, with support from institutions such as Centro Cultural de España en México.

=== Production / Aisel Wicab (Mexico City, 1985) ===

Aisel is the project’s main supporter and has been with us from the beginning as a liason for Fundación Alumnos 47.
She is an artist and cultural agent. Her production stems from collaborative processes towards technical appropriation, drawing, experimental film, animation, installations and permormance interventions in educational spaces. She is a co-founder of Luz y Fuerza, a light-examining collective she’s worked with in Mexico City since 2012. Luz y Fuerza was part of an international live-cinema group called Trinchera Ensamble from 2006 to 2011. She has conducted many workshop at home and abroad. Her work has been showcased in locations such as Centro Nacional de las Artes, Teatro de la Ciudad Esperanza Iris, Cineteca Nacional, Museo del Chopo, Museo de la Ciudad de México, Centro Cultural de España both in Mexico and Argentina, the FAC and the Engelman Ost Collection in Uruguay, Cinema La Cleff in Paris, the Sammlung Essl and the MuseumsQuartier in Vienna, Austria. She’s been supported through grants by the Multimedia Center at CENART-INBA in 2012, the BBVA-Bancomer Foundation in 2009 and the PAPIIT-UNAM program from 2007 to 2009.

=== Production / Dora Bartilotti (Veracruz, 1988) ===

Dora enters the project a little bit later to help as to coordinate the Meetings and since then she becomes a full member.
She is a Mexican audiovisual artist who works and lives in Mexico City. She studied Design and Visual Communication at the Faculty of Arts and Design (UNAM) with specialization in Audiovisual and Multimedia. His production and research is developed in the field of design, audiovisual, electronic and performing art practices. She is co-founder and General Coordinator of BINARIO: International Festival of Art, Design and New Media Culture and was member of transdisciplinary Mexican collective #FFFF (2011-2014). He has taught courses and conferences about art-technology hybridization and in relation to the transdisciplinary creation, as well as participated in exhibitions and audiovisual presentations in spaces and events such as: Laboratorio Arte Alameda, Bellas Artes, Franz Mayer Museum, Intel Computer Clubhouse Mx, Centro Multimedia, Centro de Cultura Digital, Cineteca Nacional, FAD-UNAM, MUTEK Mx, Symposium on Music and Code / * VIVO * /, among others. In 2015 it was selected in the category of Technology, for the "We are creators" project of Chrysler 200. He is currently part of the Educational Research area at Alumnos47 Foundation.

Domains, Publics and Access:About

2017-06-28T23:03:06Z

Paz: /* Budget */

== How this all started ==

This collection of forms of access for all audiences in the domains of art, science, culture, economics, politics and technology sprung from an invitation from Aisel Wicab to the person now writing this story. Being aware of my renowned obsession with the subject, Aisel invited me to set out an archiving project. The idea centered around building an archive dedicated to contemporary art that could be browsed online, since fostering these kinds of artistic practices is the mission of Fundación Alumnos 47, especially those based on education. The problem was, online access is not easy to achieve without a sizeable budget to allow for respecting current intelectual property agreements and a great amount of time alloted to negotiate each and every piece. In order to have an archive dedicated to a group of works of art, either their acquisition or reproduction and distribution rights have to be negotiated or, failing this, focus on those of public (albeit not so contemporary) domain. Another idea had to do with facilitating text consultation. If the archive were to be dedicated to reference books, catalogs are nothing, if not the most similar to open access, allowing for consultation and use of art publications. I take this oportunity to throw around a suggestion for open access to the dusty, forgotten catalogues of historical exhibitions in museums around the world. That would’ve been a great project: a suggestive image of the past displayed onscreen.

It is true some art publications are trying out new, open licenses such as Creative Commons. It is also true a significant segment of contemporary art is available online. But, it is also true we speak of a reduced number of texts and practices in both cases. To overcome the access fence, everything pointed to devoting oneself to the public domain and designing a project closely related to the digital humanities. In short, coming up with a solution to the proposal on the terms, timeline and budget laid out might not have been impossible, but the questions that kept arising guided the proposal elsewhere, without my noticing it. In the search for possible projects, every question led to the same problem over and over again, that of access.

From and art history perspective, the problem with access is not new. Art’s access to all areas of life is the burdensome inheritance of the first vanguards that artists and researchers have been struggling with ever since. Perhaps the matter of life’s access to art is a more current one. Regardless of whether it’s about politics, fashion, economics, food, insect sexuality, climate change, war, molecular physics, hunger or the service industry, today’s art is present, standing out in exhibitions, performances, residencies, biennials… linking artistic production with topical issues. Along this line, the old rule for blending art into life seems to have been reversed. Now, it’s become about blending life into art, as if art were the BBC. The result: framing the access problem in relation to contemporary art implied asking not about access to art, but access to everything else.

Following these concerns, the research for ''Domains, publics and access'' arose in january 2015. A collaboration between [http://alumnos47.org/ Fundación Alumnos47] and the Arts and Humanities Department at [http://www.ler.uam.mx/ Universidad Autónoma Metropolitana - Unidad Lerma].

Paz Sastre

Mexico City, August 8th, 2016.

== Budget ==
{| class="wikitable"
|-
! Listing !! Cost Unit !! # of Units !! Mexican Pesos
|-
| Wordpress Premium || $1,626.22 year || 1 year || $1,626.22
|-
| Godaddy Domain || $169.00 year|| 3 years || $507
|-
| Server 1 || $452.40 year || 1 year || $452.40
|-
| Server 2 || $4,385 x year || 1 year || $4,385
|-
| Text Publishing || $5,000.00 article || 4 articles || $20,000.00
|-
| Gabriela Ceja - Research Assistant || $3,000.00 month || 17 months || $51,000.00
|-
| Miguel Errazu - Editing || $4,000 x month || 2 months || $8,000
|-
| Eva Gómez - Editing || $4,000 x month || 2 months || $8,000
|-
| Paz Sastre - Coordinator || $20,000.00 project || project || $20,000.00
|-
| Alan Lazalde - Programming || $16,000.00 wiki || wiki || $16,000.00
|-
| Postcards || xxxx || 1000 || $2,494.00
|-
| Meetings Moderators || $3,000.00 1 meeting || 12 meetings || $36,000.00
|-
| Meetings Streaming || $3,364.00 || 12 meetings || $40,368
|-
| Translation || $0,40 word || 26,080 words || $15,520.00
|-
|}

Budget implemented from January 2015 to June 2017: $188,352.62

== About us ==

=== Coordinator / Paz Sastre (Madrid, 1975) ===

Paz is in charge of designing and coordinating the project, selecting initiatives, tools, manifestos, literature, references and potential interviewees. She is reponsible for editing the wiki and for the conferences to be carried out in Mexico City as part of the project’s on-site activities.

She works as a senior research professor of the Arts and Humanities Department at Universidad Autónoma Metropolitana - Lerma, for the Digital Arts and Communications degree. She’s been a member of Laboratorio del Procomún México and is part of Ícono14, an independent research group dedicated to aesthetics and new media in Madrid. She has worked on matters regarding archiving, information society, bureaucracy and public utility through the lens of visual studies. Most of her papers can be consulted online. She has collaborated on projects dedicated to the building, recovery and access of diferent archives, such as the Huichol people’s cultural heritage, Ana Victoria Jiménez’s memoirs on Mexican feminist activism, Laboratorio del Procomún México’s failed repository and Campechana Mental, a digital literacy project at the Rancho Electrónico hackerspace.

=== Research Assistant / Gabriela Ceja (Mexico City, 1980) ===

From 2015 to March 2016 she has been working on writing the project’s entries, uploading part of the literature and publishing many of the manifestos available in the wiki for consultation. She is also the voice you will hear conducting several interviews.

Gabriela is a visual artist, researcher and professor, a graduate of the National School of Visual Arts (ENAP) at the National Autonomous University of Mexico (UNAM), with a degree in Art History by the Sor Juana Cloister University (UCSJ). Her work in art and education centers around the concepts of work, identity and alienation, developed mainly in Mexico City and New York, exploring work environments, conducting psychosocial and inter-relational research to expand worker’s testimonies and realities. With art and education as tools for social transformation, she has designed multidisciplinary educational programs for the broadening of audiences and spaces. She has taught classes at UNAM, the Mexican Youth Institute, Casa Vecina, ENAP, Atelier Romo and Casa del Lago, among others. Along with Fran Ilich, she is also part of the Aridoamerica project, an alternative economy-praticing cooperative in constant dialgue and interaction with multiple art groups and international activism. As part of a recently started Masters in Labor Studies from the City University of New York she is currently conducting the Workers Art Workshop, a educational arts project dedicated to the development and expression of the working class.

=== Programming / Alan Lazalde (Mexico City, 1980) ===

Alan is responsible for the wiki’s setup and management, his journey across three different servers, rescuing mischivieous robots that had deleted a large amount of the site’s content and for being a buffer to my phobia of wikis and their programming.

He’s been the project’s technical consultant since mid-2015 when, because of him, we deciding on using MediaWiki. He is currently the Innovations Manager at kubo.financiero, a P2P lending company where he develops projects on technology, communications and design. He graduated from Universidad Autónoma Metropolitana (UAM) in 2009 with a Masters in Science and an Internet specialty. From 2010 to 2013 he was an engineering professor at Universidad Iberoamericana and UAM - Iztapalapa. He has also volunteered in free culture projects, such as SEGIB’s Innovación Ciudadana, FLOK Society in Ecuador and Goteo in Spain. From 2014 to 2016 he was the spokesperson for Wikimedia Mexico. Currently, he writes about digital culture for Eldiario.es and the blog published by Centro de Cultura Contemporánea de Barcelona. Since 2009, he has been teaching tech courses designed for cultural agents indepently, with support from institutions such as Centro Cultural de España en México.

=== Production / Aisel Wicab (Mexico City, 1985) ===

Aisel is the project’s main supporter and has been with us from the beginning as a liason for Fundación Alumnos 47.
She is an artist and cultural agent. Her production stems from collaborative processes towards technical appropriation, drawing, experimental film, animation, installations and permormance interventions in educational spaces. She is a co-founder of Luz y Fuerza, a light-examining collective she’s worked with in Mexico City since 2012. Luz y Fuerza was part of an international live-cinema group called Trinchera Ensamble from 2006 to 2011. She has conducted many workshop at home and abroad. Her work has been showcased in locations such as Centro Nacional de las Artes, Teatro de la Ciudad Esperanza Iris, Cineteca Nacional, Museo del Chopo, Museo de la Ciudad de México, Centro Cultural de España both in Mexico and Argentina, the FAC and the Engelman Ost Collection in Uruguay, Cinema La Cleff in Paris, the Sammlung Essl and the MuseumsQuartier in Vienna, Austria. She’s been supported through grants by the Multimedia Center at CENART-INBA in 2012, the BBVA-Bancomer Foundation in 2009 and the PAPIIT-UNAM program from 2007 to 2009.

=== Production / Dora Bartilotti (Veracruz, 1988) ===

Dora enters the project a little bit later to help as to coordinate the Meetings and since then she becomes a full member.
She is a Mexican audiovisual artist who works and lives in Mexico City. She studied Design and Visual Communication at the Faculty of Arts and Design (UNAM) with specialization in Audiovisual and Multimedia. His production and research is developed in the field of design, audiovisual, electronic and performing art practices. She is co-founder and General Coordinator of BINARIO: International Festival of Art, Design and New Media Culture and was member of transdisciplinary Mexican collective #FFFF (2011-2014). He has taught courses and conferences about art-technology hybridization and in relation to the transdisciplinary creation, as well as participated in exhibitions and audiovisual presentations in spaces and events such as: Laboratorio Arte Alameda, Bellas Artes, Franz Mayer Museum, Intel Computer Clubhouse Mx, Centro Multimedia, Centro de Cultura Digital, Cineteca Nacional, FAD-UNAM, MUTEK Mx, Symposium on Music and Code / * VIVO * /, among others. In 2015 it was selected in the category of Technology, for the "We are creators" project of Chrysler 200. He is currently part of the Educational Research area at Alumnos47 Foundation.

Andy Greenberg (2014) Hacker Lexicon: What Is the Dark Web

2017-06-27T23:23:02Z

Paz: /* Links */

[[File:Screenshot-www.wired.com 2017-06-27 16-33-50.png|thumb|right]]

== '''File''' ==
[[File:Hacker Lexicon- What Is the Dark Web?.pdf|thumb]]

== '''Links''' ==

'''URL:''' https://www.wired.com/2014/11/hacker-lexicon-whats-dark-web/

'''Wayback Machine:''' https://web.archive.org/web/20170627213333/https://www.wired.com/2014/11/hacker-lexicon-whats-dark-web/

[[Category:Library]]
[[Category:English]]
[[Category:USA]]
[[Category:2014]]
[[Category:Andy Greenberg]]
[[Category:Wired]]

Andy Greenberg (2014) Hacker Lexicon: What Is the Dark Web

2017-06-27T23:22:33Z

Paz:

[[File:Screenshot-www.wired.com 2017-06-27 16-33-50.png|thumb|right]]

== '''File''' ==
[[File:Hacker Lexicon- What Is the Dark Web?.pdf|thumb]]

== '''Links''' ==

'''URL:''' https://www.wired.com/2014/11/hacker-lexicon-whats-dark-web/

'''Wayback Machine:''' https://web.archive.org/web/20170627213333/https://www.wired.com/2014/11/hacker-lexicon-whats-dark-web/[[Category:]]

[[Category:Library]]
[[Category:English]]
[[Category:USA]]
[[Category:2014]]
[[Category:Andy Greenberg]]
[[Category:Wired]]

File:Screenshot-www.wired.com 2017-06-27 16-33-50.png

2017-06-27T23:21:44Z

Paz:

Domains, Publics and Access

2017-06-27T21:56:31Z

Paz:

<big>'''An online collection of projects that offer different forms of access for the general public to the domains of art, science, culture, economics, politics and technology.'''</big>

Cataloging, preserving and documenting the current forms of access.

''open access, open content, open goverment, open science, open design, open education, open spectrum, citizen jornalism, citizen science, collaborative economy, sharing economy, commons, coops, crowdfunding, crowdsourcing, cryptocurrencies, DIY, makers, 3D printing, free software, free culture, community currencies, solidarity economy, future, grassroots media, p2p, pirate, tactical media, tactical urbanism, private, public…''

'''Versión en español: http://dpya.org'''

== '''Collecting''' ==

Domains, publics and access is an ongoing research project in media archaeology of the present been developed in Mexico by the Universidad Autónoma Metropolitana and the Alumnos47 Foundation since 2015. The core of the research is a wiki where we collect projects that offer access for the general public to the domains of art, culture, science, economics, politics and technology.

The Collection is dedicated to cataloguing, preserving and documenting projects that propose or investigate general access to the production, distribution and consumption of goods and services previously restricted mainly to specialists and professionals. Combining the mass media with heterogeneous social practices the projects question the vertical and centralized management of access by public and private institutions historically associated with art, science, culture, economics, politics and technology such as museums, galleries, libraries, archives, publishers, laboratories, universities, companies, banks, hospitals, governments, political parties, factories, etc.

Projects that experiment with more horizontal and decentralized management models appear on the web associated with recent terms such as open access, open data, open content, open education, open government, open design, open spectrum, open science, cryptocurrencies, citizen journalism, citizen science, collaborative economy, crowdfunding, crowdsourcing, free software, free culture, p2p, tactical urbanism ... These new terms coexist with old terms such as commons, public domain, time banks, grassroots media, solidarity economy, community currencies, cryptography, cooperatives, tactical media, DIY or piracy. All of them constitute the vocabulary of current forms of access, keywords of a vanishing present.

The Collection brings together projects that have emerged in different countries from the second half of the 20th century to the present day, with special attention to those developed in Mexico where the research began. The only condition is that the projects should be associated with the vocabulary of current forms of access counting on the participation of the general public in all domains of social activity. The collection includes, equally, projects launched by public and private institutions and different actors of civil society, since the questioning of the vertical and centralized management of access by institutions historically associated with the various domains is taking place inside and outside of them. In this way the Collection deals with the contemporary coexistence and hybridization between new and old models of access management that present different degrees of centralization and decentralization, verticality and horizontality.

== '''Cataloguing''' ==

Projects are catalogued according to the categories and subcategories associated with the three main sections in which the wiki is divided. In '''Domains''', the projects are indexed according to their main ascription to one or several Domains: Art, Science, Culture, Economics, Politics and Technology. In '''Publics''', projects are labeled based on their linguistic, geographical and temporal universe. We catalog all the Language(s) in which each project is published, the Start Country(ies), the Start Year and the Ending Year. In '''Access''', the projects are classified according to the vocabulary of current forms of access. As this vocabulary appears and is popularized mainly in English, the main menu categories are in this language: Citizen, Collaborative, Commons, Co-ops, Crowd, Crypto, DIY, Free, Future, Grassroots, Open, P2P, Pirate, Private, Public, Tactical. The translation is found in the subcategories that also expand the forms of access linked with each category in English and Spanish.

To show how the vocabulary of current forms of access is diversified with use, the wiki allows participants to add new categories and subcategories following the terms that the projects apply to define themselves. When the terms are not shown explicitly or appear under a slightly different version, the categories and subcategories already indexed are assigned according to the criteria of the participant. Only the subcategories No lucrativo/ Nonprofit (Private), Lucrativo/Profit (Private) and Estado/State (Public) are part of the cataloguing of all projects. In that way the public initiatives of governments are distinguished from all others and the business model and legal status of the project are indicated when they are clearly published. These cataloguing criteria also apply to projects that lack legal form or do not clearly state what their legal status is.

All the necessary information for the cataloguing is extracted from the project websites. Even the main sources for new projects are the links that they establish with other initiatives. Only in exceptional cases are secondary sources of information used to complete the cataloguing. The Collection does not pretend to be exhaustive. The selection is personal and depends on the online tours done by each participant as they register different projects in the wiki.

== '''Preserving''' ==

The goal is to preserve the memory of the '''Projects''' that appear and disappear day by day in different countries by using the tools available online. As these are recent projects, all have or had a website that is saved in Wayback Machine (http://archive.org/web/), the free service that Internet Archive (https://archive.org/) offers to preserve web pages in WARC format. In addition, all the '''Documentation''' of the projects is also preserved in Internet Archive for future generations.

== '''Documenting''' ==

The '''Documentation''' offers complementary information about the current forms of access in seven different sections. '''Interviews''' follows a questionnaire published by the fanzine Radical Software in 1970. The questionnaire applies to anyone involved in the projects who wish to provide their testimony. Although the questions were raised several decades ago by activists and artists working in TV and video in order to get to know each other better, they continue to be valid in the current context. The only parts in the questionnaire that were modified were the media in question. TV has been replaced by the Internet as a distribution channel and the hypertext of the World Wide Web occupies the place of video. The idea is to give a voice and a face to the projects that are the result of the work of specific people, although anyone can always contribute with an anonimous testimony by linking only the interview to the project where the interviewee collaborates. '''Manifestos''' exposes all kinds of perspectives about access, reactionary and progressive, that show how each new media present is transformed throughout the history of this genre. It is possibly the favorite literary genre of today's publics. Companies, governments, international organizations, artists, activists, scientists, journalists, hackers ... all of them seem to have something to say about domains, publics and access. New manifestos appear and old manifestos are forgotten, so this incomplete collection by definition offers a selection that hopes to be enriched with new contributions. Respecting the long history of the genre it is possible to include any manifesto dated before the second half of the 20th century where a position is expressed on the use and function of the mass media and the forms of access in force at that time. '''Library''' groups together books, articles, news, reports and any text dedicated to current forms of access and projects indexed in the wiki that are available for online consultation and downloading. It is another collection, incomplete by definition, that does not aspire to be exhaustive but invites those who wish to contribute to add new texts. Any document relevant to the current debates and reflections for the future of domains, publics and access is welcome. All of them are cataloged according to the Language(s), Starting Country(ies), Star Year, '''Authors''' and '''Publishers'''.

== '''Discussing''' ==

The reason for cataloguing, preserving and documenting projects responds to the fact that the limits of access to the domains of art, science, culture, economics, politics and technology have never been stable and will continue to change in the near future. In order to provide a broader picture for future generations of the different forms of access that are emerging now, the collection includes all types of projects that are not only heterogenous but also antagonistic. Regardless of whether these are public, private or civil society initiatives, for profit or non-profit, local or global, activist, artistic, scientific, etc., from the left to the right of the political spectrum, this wiki gathers examples of all of them. The historical limits of access are established not only by consensus but also by antagonism between different perspectives which fight with each other by limiting the access at a particular time and place. The wiki collects the terms that inform the current discussions around access without taking the side of any of them. By displaying this vocabulary in its plurality and organizing it by country, a tool is offered through which all stakeholders can participate in the discussion or gain an idea of the possibilities available in their own context to judge for themselves the risks and opportunities that each form of access and each project puts into play.

The importance given in the cataloguing to the public and private forms of access makes the absence of the commons stand out more strongly. It is not a matter of denying the renewal of the commons and the resurgence of collective and collaborative practices in the present but of placing them in the space of conflicts provoked by the nation state crisis. Both the global and neoliberal projects and the projects of local and community orientation share the questioning of public management. Highlighting, encouraging and informing the discussion around this particular situation that characterizes the present is a fundamental part of the tasks of the collection.

== '''Collaborating''' ==

In order to achieve this task the collection has been organized as a wiki where anyone who wants to contribute is welcome. We are looking for collaborators interested in becoming part of the research team. Collaboration may consist of cataloging a new project, correcting or expanding an entry, proposing new initiatives to be cataloged by leaving them “On hold”, uploading bibliography, conducting interviews and publishing them, including more manifests, sending suggestions and criticisms so that we can improve, carry out new activities in other places, translate the pages, etc. Only from the local experience can the global trends be complemented and discussed. If you are interested you can see more details in '''Open calls'''.

'''p.sastre@correo.ler.uam.mx'''

Andy Greenberg (2014) Hacker Lexicon: What Is the Dark Web

2017-06-27T21:50:47Z

Paz: /* File */

== '''File''' ==
[[File:Hacker Lexicon- What Is the Dark Web?.pdf|thumb]]

== '''Links''' ==

'''URL:''' https://www.wired.com/2014/11/hacker-lexicon-whats-dark-web/

'''Wayback Machine:''' https://web.archive.org/web/20170627213333/https://www.wired.com/2014/11/hacker-lexicon-whats-dark-web/[[Category:]]

[[Category:Library]]
[[Category:English]]
[[Category:USA]]
[[Category:2014]]
[[Category:Andy Greenberg]]
[[Category:Wired]]

File:Hacker Lexicon- What Is the Dark Web?.pdf

2017-06-27T21:50:25Z

Paz:

Category:Andy Greenberg

2017-06-27T21:36:05Z

Paz: Created page with "Category:Authors"

[[Category:Authors]]

Andy Greenberg (2014) Hacker Lexicon: What Is the Dark Web

2017-06-27T21:35:42Z

Paz: Created page with "== '''File''' == == '''Links''' == '''URL:''' https://www.wired.com/2014/11/hacker-lexicon-whats-dark-web/ '''Wayback Machine:''' https://web...."

== '''File''' ==

== '''Links''' ==

'''URL:''' https://www.wired.com/2014/11/hacker-lexicon-whats-dark-web/

'''Wayback Machine:''' https://web.archive.org/web/20170627213333/https://www.wired.com/2014/11/hacker-lexicon-whats-dark-web/[[Category:]]

[[Category:Library]]
[[Category:English]]
[[Category:USA]]
[[Category:2014]]
[[Category:Andy Greenberg]]
[[Category:Wired]]

OpenPGP

2017-06-27T21:23:41Z

Paz: Created page with "== '''Self-portrait''' == ''OpenPGP is the most widely used email encryption standard. It is defined by the OpenPGP Working Group of the Internet Engineering T..."

== '''Self-portrait''' ==

''OpenPGP is the most widely used email encryption standard. It is defined by the OpenPGP Working Group of the Internet Engineering Task Force (IETF) as a Proposed Standard in RFC 4880. OpenPGP was originally derived from the PGP software, created by Phil Zimmermann.'' (http://openpgp.org/)

== '''Description''' ==

== '''Links''' ==

'''URL:''' http://openpgp.org/

'''Wayback Machine:''' https://web.archive.org/web/20170627212204/http://openpgp.org/

[[Category:On hold]]
[[Category:Technology]]
[[Category:Privacy]]
[[Category:Cryptography]]

QUBES OS

2017-06-27T21:19:48Z

Paz: Created page with "== '''Self-portrait''' == ''What is Qubes OS?'' ''Qubes OS is a security-oriented operating system (OS). The OS is the software that runs all the other progra..."

== '''Self-portrait''' ==

''What is Qubes OS?''

''Qubes OS is a security-oriented operating system (OS). The OS is the software that runs all the other programs on a computer. Some examples of popular OSes are Microsoft Windows, Mac OS X, Android, and iOS. Qubes is free and open-source software (FOSS). This means that everyone is free to use, copy, and change the software in any way. It also means that the source code is openly available so others can contribute to and audit it.'' (https://www.qubes-os.org/intro/)

== '''Description''' ==

== '''Links''' ==

'''URL:''' https://www.qubes-os.org/

'''Wayback Machine:''' https://web.archive.org/web/20170627211652/https://www.qubes-os.org/

[[Category:On hold]]
[[Category:Technology]]
[[Category:Darknet]]
[[Category:Privacy]]

Tails

2017-06-27T21:13:47Z

Paz: /* Self-portrait */

== '''Self-portrait''' ==

''Privacy for anyone anywhere''

''Tails is a live operating system that you can start on almost any computer from a DVD, USB stick, or SD card.''

''It aims at preserving your privacy and anonymity, and helps you to:''

* ''use the Internet anonymously and circumvent censorship;''
* ''all connections to the Internet are forced to go through the Tor network;''
* ''leave no trace on the computer you are using unless you ask it explicitly;''
* ''use state-of-the-art cryptographic tools to encrypt your files, emails and instant messaging.''

(https://tails.boum.org/index.en.html)

== '''Description''' ==

== '''Links''' ==

'''URL:''' https://tails.boum.org/index.en.html

'''Wayback Machine:''' https://web.archive.org/web/20170627211004/https://tails.boum.org/index.en.html

[[Category:On hold]]
[[Category:Technology]]
[[Category:Darknet]]
[[Category:Privacy]]