Dominios, públicos y acceso - Contribuciones del usuario [es]

1999 - Manifiesto contra el trabajo - Krisis

2017-03-30T22:38:55Z

Eva:

[[Archivo:Manifiesto contra el trabajo copia.jpg|miniaturadeimagen|derecha]]
'''URL (español):''' http://www.krisis.org/1999/manifiesto-contra-el-trabajo/

'''URL (alemán):''' http://www.krisis.org/1999/manifest-gegen-die-arbeit/

'''Wayback Machine:'''

http://web.archive.org/web/20160826045529/http://www.krisis.org/1999/manifiesto-contra-el-trabajo/

http://web.archive.org/web/20160827171355/http://www.krisis.org/1999/manifest-gegen-die-arbeit/

[[Categoría:Manifiestos]]
[[Categoría:Español]]
[[Categoría:Alemán]]
[[Categoría:Alemania]]
[[Categoría:1999]]
[[Categoría:Grupo Krisis]]
[[Categoría:Zeitschrift Krisis]]

Archivo:FC OPEN-Manifesto.pdf

2017-03-30T22:36:03Z

Eva:

1997 - El ABC del Tactical Media - Geert Lovink y David García

2017-03-30T22:34:54Z

Eva:

[[Archivo:The abc of tactical media copia.jpg|miniaturadeimagen|derecha]]

(This manifest was written for the upcoming opening of the web site of the
Tactical Media Network, hosted by the Waag, the Society for Old and New
Media: http://www.waag.org/tmn). It will contain the archive of the web
site and on-line journal of Next Five Minutes 2, a database of addresses,
the archive of VPRO TVs "Worldreceiver" program and a new "broadcast site"
with samples of new work, made by tactical media groups from all over the
world. Contact: roos {AT} waag.org).

'''The ABC of Tactical Media
By David Garcia and Geert Lovink'''

Tactical Media are what happens when the cheap 'do it yourself'
media, made possible by the revolution in consumer electronics and
expanded forms of distribution (from public access cable to the
internet) are exploited by groups and individuals who feel aggrieved by
or excluded from the wider culture. Tactical media do not just report
events, as they are never impartial they always participate and it is
this that more than anything separates them from mainstream media.

A distinctive tactical ethic and aesthetic that has emerged, which is
culturally influential from MTV through to recent video work made by
artists. It began as a quick and dirty aesthetic although it is just
another style it (at least in its camcorder form) has come to symbolize
a verite for the 90's.

Tactical media are media of crisis, criticism and opposition. This is
both the source their power, ("anger is an energy" : John Lydon), and
also their limitation. their typical heroes are; the activist, Nomadic
media warriors, the pranxter, the hacker,the street rapper, the
camcorder kamikaze, they are the happy negatives, always in search of an
enemy. But once the enemy has been named and vanquished it is the
tactical practitioner whose turn it is to fall into crisis. Then
(despite their achievements) its easy to mock them, with catch phrases
of the right, "politically correct" "Victim culture" etc. More
theoretically the identity politics, media critiques and theories
of representation, that became the foundation of much western tactical
media are themselves in crisis. These ways of thinking are widely seen
as, carping and repressive remnants of an outmoded humanism.

To believe that issues of representation are now irrelevant is to
believe that the very real life chances of groups and individuals are
not still crucially affected by the available images circulating in any
given society. And the fact that we no longer see the mass media as the
sole and centralized source of our self definitions might make these
issues more slippery but that does not make them redundant.

Tactical media a qualified form of humanism. A useful antidote to
both, what Peter Lamborn Wilson described, as "the unopposed rule of
money over human beings". But also as an antidote to newly emerging forms
of technocratic scientism which under the banner of post-humanism tend to
restrict discussions of human use and social reception.

What makes Our Media Tactical? In 'The Practice of Every Day Life' De
Certueau analyzed popular culture not as a 'domain of texts or artifacts
but rather as a set of practices or operations performed on textual or
text like structures'. He shifted the emphasis from representations in
their own right to the 'uses' of representations. In other words how do
we as consumers use the texts and artifacts that surround us. And the
answer, he suggested, was 'tactically'. That is in far more creative and
rebellious ways than had previously been imagined. He described the
process of consumption as a set of tactics by which the weak make use of
the strong. He characterized the rebellious user (a term he preferred to
consumer) as tactical and the presumptuous producer (in which he included
authors, educators, curators and revolutionaries) as strategic. Setting
up this dichotomy allowed him to produce a vocabulary of tactics rich and
complex enough to amount to a distinctive and recognizable aesthetic. An
existential aesthetic. An aesthetic of Poaching, tricking, reading,
speaking, strolling, shopping, desiring. Clever tricks, the hunter's
cunning, maneuvers, polymorphic situations, joyful discoveries, poetic
as well as warlike.

Awareness of this tactical/strategic dichotomy helped us to name a class
of producers of who seem uniquely aware of the value of these temporary
reversals in the flow of power. And rather than resisting these
rebellions do everything in their power to amplify them. And indeed make
the creation of spaces, channels and platforms for these reversals
central to their practice. We dubbed their (our) work tactical media.

Tactical Media are never perfect, always in becoming,
performative and pragmatic, involved in a continual process of
questioning the premises of the channels they work with. This
requires the confidence that the content can survive intact as it
travels from interface to interface. But we must never forget that
hybrid media has its opposite its nemesis, the Medialen
Gesamtkunstwerk. The final program for the electronic
Bauhaus.

Of course it is much safer to stick to the classic rituals of the
underground and alternative scene. Bu tactical media are based on a
principal of flexible response, of working with different coalitions,
being able to move between the different entities in the vast media
landscape without betraying their original motivations. Tactical Media
may be hedonistic, or zealously euphoric. Even fashion hypes have their
uses. But it is above all mobility that most characterizes the tactical
practitioner. The desire and capability to combine or jump from one
media to another creating a continuous supply of mutants and hybrids. To
cross boarders, connecting and re-wiring a variety of disciplines and
always taking full advantage of the free spaces in the media that are
continually appearing because of the pace of technological change and
regulatory uncertainty.

Although tactical media include alternative media, we are not
restricted to that category. In fact we introduced the term tactical to
disrupt and take us beyond the rigid dichotomies that have restricted
thinking in this area, for so long, dichotomies such as amateur Vs
professional, alternative Vs mainstream. Even private Vs public.

Our hybrid forms are always provisional. What counts are the temporary
connections you are able to make. Here and now, Not some vaporware
promised for the future. But what we can do on the spot with the media
we have access to. Here in Amsterdam we have access to local TV, digital
cities and fortresses of new and old media. In other places they might
have theater, street demonstrations, experimental film, literature,
photography.

Tactical media's mobility connects it to a wider movement of
migrant culture. Espousedby the proponents of what Nie
Ascherson described as the stimulating pseudo science of
Nomadism. 'The human race say its exponants are entering a new
epoch of movement and migration. The subjects of history once the
settled farmers and citizens, have become the migrants,the refugees
the gastarbeiters, the asylum seekers, the urban homeless.'

An exemplery example of the tactical can be seen in the work of the
Polish artist Krzystof Wodiczko who 'perceives how the
hordes of the displaced that now occupy the public space of cities
squares, parks or railway station concourses which were once
designed by a triumphant middle class to celebrate the conquest of
its new political rights and economic liberties. Wodiczko thinks that
these occupied spaces form new agoras. which should be used for
statements. 'The artist', he says, 'needs to learn how to operate as
a nomadic sophist in a migrant polis.'

Like other migrant media tactitions Wodiczko has studied the
techniques by which the weak become stronger than the opressors
by scatering , by becoming centreless, by moving fast across the
physical or media and virtual landscapes. 'The hunted mustdiscover
the ways become the hunter.'

But capital is also radically deterritorialized. This is why we like
being based in a building like De Waag, an old fortress in the center of
Amsterdam. We happily accept the paradox of *centers* of tactical media.
As well as castles in the air, we need fortresses of bricks and mortar,
to resist a world of unconstrained nomadic capital.
Spaces to plan not just improvise and the possibility of capitalizing on
acquired advantages, has always been the preserve of 'strategic' media.
As flexible media tacticians, who are not afraid of power, we are happy
to adopt this approach ourselves.

Every few years we do a Next 5 Minutes conference on tactical media from
around the world. Finally we have a base (De Waag) from which we hope to
consolidate and build for the longer term. We see this building as a
place to plan regular events and meetings, including coming The Next 5
Minutes. We see the coming The Next 5 Minutes (in january 1999), and
discussions leading up to it, as part of a movement to create an antidote
to what Peter Lamborn Wilson described, as 'the unopposed rule of money
over human beings.'

'''URL:''' http://www.nettime.org/Lists-Archives/nettime-l-9705/msg00096.html

'''Wayback Machine:''' https://web.archive.org/web/20160313033747/http://www.nettime.org/Lists-Archives/nettime-l-9705/msg00096.html

[[Categoría:Manifiestos]]
[[Categoría:Geert Lovink]]
[[Categoría:David García]]
[[Categoría:Nettime]]
[[Categoría:Inglés]]
[[Categoría:Holanda]]
[[Categoría:1997]]

2013 - Open Data Charter - G8

2017-03-30T22:31:39Z

Eva:

[[Archivo:Open data charter copia.jpg|miniaturadeimagen|derecha]]

'''PDF:'''
[[Archivo:Open Data Charter.pdf|sinmarco|izquierda]]

'''URL:''' https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/207772/Open_Data_Charter.pdf, https://www.gov.uk/government/publications/open-data-charter, https://www.gov.uk/government/publications/open-data-charter/g8-open-data-charter-and-technical-annex

'''Wayback Machine:''' http://web.archive.org/web/20160328003936/https://www.gov.uk/government/publications/open-data-charter/g8-open-data-charter-and-technical-annex, http://web.archive.org/web/20160328004238/https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/207772/Open_Data_Charter.pdf

[[Categoría:Manifiestos]]
[[Categoría:G8]]
[[Categoría:2013]]
[[Categoría:Inglés]]
[[Categoría:Reino Unido]]

Archivo:Open Data Charter.pdf

2017-03-30T22:31:09Z

Eva:

2013 - Open Data Charter - G8

2017-03-30T22:30:27Z

Eva:

[[Archivo:Open data charter copia.jpg|miniaturadeimagen|derecha]]

'''URL:''' https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/207772/Open_Data_Charter.pdf, https://www.gov.uk/government/publications/open-data-charter, https://www.gov.uk/government/publications/open-data-charter/g8-open-data-charter-and-technical-annex

'''Wayback Machine:''' http://web.archive.org/web/20160328003936/https://www.gov.uk/government/publications/open-data-charter/g8-open-data-charter-and-technical-annex, http://web.archive.org/web/20160328004238/https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/207772/Open_Data_Charter.pdf

[[Categoría:Manifiestos]]
[[Categoría:G8]]
[[Categoría:2013]]
[[Categoría:Inglés]]
[[Categoría:Reino Unido]]

2005 - Declaration Of The Universal Right Of Monetary Creation - François Rey y Marc Boucher de Lignon

2017-03-30T22:29:31Z

Eva:

[[Archivo:Universal right of monetary creation copia.jpg|miniaturadeimagen|derecha]]

'''Today entire parts of world population no longer have access to basic necessities because people do not have access to money. Why?'''

If like the large majority of people you say "I do not understand anything of the monetary problem" it's because the Machiavellian stratagem of the financial and economic establishment has succeeded in maintaining a veil over our eyes thanks to a complex and erroneous theory that prohibits any realistic interpretation of the monetary and economic problems.

In reality people produce the goods and services on the market, but without these goods and services money would have no reason to exist and therefore no value. Thus it is the people that makes the value of money. The value of money does not appear spontaneously in nature, but is the creation of man like goods and services. The right to create money thus belongs to the people since they are ultimately responsible for its value.

However this right of monetary creation has been withdrawn from the people and entrusted to the banks with which people must enter into debt in order to have the currency necessary for exchanging their own work and production. As a result humanity sits on a mountain of artificial debts with dire consequences: decreasing purchasing power, increased poverty, and absolute misery for a major part of humanity.

How long can we keep this veil and continue to produce all the wealth except the money necessary to the exchange of that wealth? Prominent economists such as Irving Fisher in the United States and Maurice Allais (Nobel Prize of economy) in France already invite us to wake up. It is not too late to act but there is urgency.

Let us give meaning to our society by recreating a true economic system based on transparency and sharing.

'''How?'''

It appears essential to start defining the legal and universal basis upon which can rest a financial and economic system worthy of our conception of humanity and its fundamental rights. We thus propose to add to the Universal Declaration of Human Rights a section dealing with the fundamental rights for our monetary and economic system. What follows is a proposal to be used as a basis for the writing of a final charter.

'''Preamble'''

The Universal Declaration of Human Rights adopted by the United Nations in 1948 specifies that:

Article 2: Everyone is entitled to all the rights and freedoms set forth in this Declaration, without distinction of any kind, such as race, color, sex, language, religion, political or other opinion, national or social origin, property, birth or other status. Furthermore, no distinction shall be made on the basis of the political, jurisdictional or international status of the country or territory to which a person belongs, whether it be independent, trust, non-self-governing or under any other limitation of sovereignty.

Article 3: Everyone has the right to life, liberty and security of person.

Article 4: No one shall be held in slavery or servitude; slavery and the slave trade shall be prohibited in all their forms.

Article 17: Everyone has the right to own property alone as well as in association with others.
No one shall be arbitrarily deprived of his property.

Article 23: Everyone has the right to work, to free choice of employment, to just and favourable conditions of work and to protection against unemployment.
Everyone, without any discrimination, has the right to equal pay for equal work.
Everyone who works has the right to just and favourable remuneration ensuring for himself and his family an existence worthy of human dignity, and supplemented, if necessary, by other means of social protection.

Article 25: Everyone has the right to a standard of living adequate for the health and well-being of himself and of his family, including food, clothing, housing and medical care and necessary social services, and the right to security in the event of unemployment, sickness, disability, widowhood, old age or other lack of livelihood in circumstances beyond his control.
Motherhood and childhood are entitled to special care and assistance. All children, whether born in or out of wedlock, shall enjoy the same social protection.

'''Our current monetary system'''

A private monopoly managed by private interests without representation of the People's interest. Citizens have no control or decision power over monetary creation and circulation, transparency does not exist or is illusory.

This state of affairs translates into money that are:

Not free: money is issued through the creation of credit for which the collateral is merely an accounting entry. Despite a creation out of nothing, any credit is subject to an usury (interest) rate. This usury or interest rate is the major cause of inflation and such cost of money represents a major part of the cost of things.

Promoting a spirit of competition: the money needed for interest payment is not created when credit is initially issued. Therefore economic actors enter into competition for getting the money necessary for interest payment. Such imperative is largely responsible for the mad profit-making race.

Unsustainable: compound interest is an exponential curve, meaning the amount of interest can rapidly overtake the circulating monetary mass. Thus currency monetary systems have no other alternative than collapsing when the initial monetary mass needed for economic activity is overtaken by the monetary mass needed for interest payment.

'''We, the People, declare that'''

The current monetary system, for the reasons listed above, does not respect Human Rights, specially regarding articles 2, 3, 17 and 25. It generates inequalities, segregation, hidden forms of slavery and prevents access to the basic needs of the People (healthcare, food, education, housing, safety, work…).

Thus, We, People, declare that:

The monetary system is a commons. Access to and usage of the monetary system is an inalienable right provided at no cost.
Any group of individual has the right to create and choose its own monetary tools. This is a principle of sovereigny, equality, and self-determination for any group of individual.
Money is a commons for the group of individuals that decided of its creation and use.
Management of the monetary system and of money is a democratic and transparent process.
The primary purpose of the monetary and economic system is the fulfilment of the fundamental needs and rights as described in the Human Rights Charter, in particular the rights to food, housing, health, education, and work.
Natural resources are a commons. Access to and usage of natural resources is a process of sharing and not of exclusive appropriation.

'''URL:''' http://www.village-planetaire.org/tiki-index.php?page=DeclarationOfTheUniversalRightOfMonetaryCreation

'''Wayback Machine:''' https://web.archive.org/web/20070705005709/

[[Categoría:Manifiestos]]
[[Categoría:François Rey]]
[[Categoría:Marc Boucher de Lignon]]
[[Categoría:2005]]
[[Categoría:Inglés]]

2009 - The Post-Futurist Manifesto - Franco Berardi

2017-03-30T22:21:44Z

Eva:

[[Archivo:The post futurist manifesto.jpg|miniaturadeimagen|derecha]]
Creatively read in English by Erik Empson and Arianna Bove.

'''URL:''' http://www.generation-online.org/p/fp_bifo5.htm

'''Wayback Machine:''' https://web.archive.org/web/*/http://www.generation-online.org/p/fp_bifo5.htm

[[Categoría:Manifiestos]]
[[Categoría:Franco Berardi]]
[[Categoría:Inglés]]
[[Categoría:Italia]]
[[Categoría:2009]]

2006 - Sobre la poesía maquinal o escrita por máquinas. Un manifiesto para la destrucción de los poetas. - Eugenio Tisselli

2017-03-30T22:21:06Z

Eva:

[[Archivo:Eugenio tiselli.jpg|miniaturadeimagen|derecha]]
"¿quién puede pensar en el arte, cuando existe la posibilidad de la felicidad?", se pregunta un escritor contemporáneo. y si, en efecto, el arte ejerce de somnífero o antidepresivo hoy en día, ¿no sería mejor desmontar ese falso refugio para afrontar así nuestra infelicidad cara a cara, e intentar superarla?

1. la transformación de lo subversivo en espectáculo ha dejado al poeta (cuya misión es la subversión del lenguaje) sin sitios a donde escapar. el poeta es hoy una rata en un rincón, temblando bajo la escoba de los poderes espectaculares.

2. el humanismo ya no cabe en un mundo en proceso acelerado de destrucción a manos de los propios humanos. la carga "humana" soportada por la poesía es ya moralmente insostenible.

3. la conexión significativa entre símbolo (palabra) y señal (realidad) se ha roto de manera irremediable, gracias a los abusos lingüísticos de ámbitos como la economía, la política, la comunicación a nivel masivo, el entretenimiento, la mercadotecnia y el consumo salvaje y excesivo.

4. ya no es posible "hacer sentido", todos los significados se han vaciado. vivimos en la era de los cascarones huecos. las nociones de "verdad" y "mentira", por ejemplo, han perdido todo su peso específico, ante la generalización de la charlatanería.

5. las máquinas calculadoras en su variante electrónica, las herramientas / medios capitalistas por excelencia, no han sido usadas para liberar al ser humano del trabajo y la infelicidad, tal como parecían prometer múltiples voces, sino para esclavizarlo aún mas y convertirlo cada vez mas en un ser dependiente, aislado e infeliz. su pervasividad ha extendido esta dependencia como un virus, hasta llevarla a las áreas mas íntimas de la vida.

6. dichas máquinas, sin embargo, pueden todavía ser usadas para liberar al ser humano de las cadenas de si mismo. esta parece ser la última frontera, y a la vez el último recurso.

7. mucho de lo que el ser humano destruye cuando "crea", puede salvarse si las tareas de creación son confiadas a las máquinas.

8. muy poca energía y espíritu le queda al ser humano después de haber creado. tanto en la literatura como en el arte, lo creado tiene sentido solamente cuando es difundido o exhibido públicamente; esto lleva al "creador" a realizar esfuerzos extenuantes y a recurrir a extremos humillantes. la crisis del lenguaje y la sobreabundancia de estímulos convierten a las creaciones publicadas en una mera caricatura de la profundidad buscada, y las condenan a una muerte súbita y miserable, que puede evitarse solamente si el mercado necrófilo las mantiene con respiración artificial.

9. las máquinas poéticas, los algoritmos generadores de poemas, abren la última via posible hacia la liberación: la superación del arte hacia la plenitud de la vida. que las máquinas hagan la poesía, para así nosotros dedicarnos a vivir.

10. la poesía maquinal ya no representa, no expresa, no refleja, no plasma experiencias, no busca enaltecer ni envilecer, no es un vehículo de nada ni de nadie, simplemente es y está allí. las palabras de la poesía maquinal son químicamente puras, ya que provienen del cálculo; de la ejecución de un algoritmo.

11. la poesía maquinal es imperfecta desde varios puntos de vista lingüísticos, y en esa imperfección radica su riqueza. la supresión de la gramática lleva a la supresión de dios, dijo alguien. la poesía maquinal, desarmada y fragmentada, busca ser construída en la mente y el espíritu de cada lector. si el mundo es ya ininteligible, la poesía maquinal es, en un primer momento, un "manual de uso" para re-aprender a leerlo [*]. sin embargo, la poesía maquinal aspira, en un futuro urgente, a ser leída única y exclusivamente por máquinas. liberación también para el lector humano.

12. la poesía maquinal llenará de palabras rotas pero bellas los pocos años que le quedan a la humanidad.

13. ¡y al final, ni siquiera la belleza!

girona, 2006.

eugenio tisselli

alberto peralta de legarreta

raül lacabanya de buenos aïres

Natacha de nadie

Pabluster

Lloyd Woodstock de Letters In Order

JB Wock

xochimiztli sosa

Le Bavarde

Guy Debord

oçko fiao

alejandro tarrab

afra-Nite

pardovandai

Istan Die

douglas fugazi

Cupido Quimico

Ricardo trigo

Arturo Sendi

alicia vela

ondazul

kenneth brenes

satan

jajaja

imperfect viento gris

angela genusa

ceraty

miguel avilés

dr. death

Andrea Piras Pinna

Stanislaw Lem

el pa´jaro mixto

Mauro Cesari

ulises.barreda

Metaconscience

viktor sack

Sara Amos Rubio

Caterina Nicolau Oliver

Lev Davidovich Bronshtein

centralandremote

madeeha.

Travis Bickle

:)

menuda mierda, que felicidad y k pollas

SOY UN ROBOT ARTISTA AHORA PÁGUENME

Elvis Tec

Cordwainer Bird

Ricardo Pelcastre - MexLord

Román Luján

Kidrobot

Yo soy una cabeza

@sangreveneno

Carlos Adolfo Gutiérrez Vidal

me duele la espalda

natali fedorova

Ruth Sancho Huerga

Lucas Grijander IV

soy chueco

Zambeatz-Jorge Molina Prudot,Honduras

e.e.

neohomerico

Zsuzsa Mitro

Luis Ernesto Gómez Arévalo

joven kalo

Rosa Melano

Susana Horia

pero esto no lo escribió una máquina...

Limbo de Ubicuidad

ube sonrisa

síharta

Kisirakai

Acunetix

Antoine Volodine

mariangela guatteri

el xalao del bar

una parte di me

chús arellano

iris

Ala Maula

ñaco ñey

01001011

Esteban De la Monja Casar

Sarede «el benno de luzes»

CharliePunketo

Raciel.Quirino.gob

Nadia Cortés

@jarxg

santubot

M.S.Yaniz

saúl hernández-vargas

conrado martínez

Liga 14 de Enero de 1931

canekzapata

Norberto de la Torre

agrega tu firma a este manifiesto:

[*]
A diez años de haberse escrito, vale la pena profundizar un poco más en este punto. En “La sublevación”, Franco Berardi plantea una tesis, tan apasionante como arriesgada, sobre el papel político de la poesía. Berardi observa que la creación de valor en la esfera capitalista ya no está supeditada al trabajo físico o a la producción de bienes materiales sino, principalmente, a la operatividad abstracta y autónoma de las finanzas. De forma paralela a este proceso, propone el autor, el signo lingüístico también ha sido sometido a una creciente abstracción especulativa. Tanto en el lenguaje cotidiano como en la poesía, la palabra remite cada vez menos al mundo, y cada vez más a una esfera autónoma de recombinación y mera funcionalidad: la palabra se empobrece al volverse un mero operador matemático. Berardi propone entonces una sublevación poética que provoque una resensibilización de lo humano a través de la reconexión erótico-simbólica con el mundo. La poesía maquinal persigue este mismo objetivo pero, a diferencia de la tesis de Berardi, reconoce la imposibilidad de regresar inmediatamente a una utilización premoderna del lenguaje con el fin de aliviar el dolor del significante y restaurar sus vínculos con el significado. Así pues, la poesía maquinal mete el dedo en la llaga para hacer más profunda y dolorosa la herida, buscando hacer aún más abstracta nuestra relación con el mundo mediada por el lenguaje. Siguiendo un principio homeopático, busca llegar a un grado de abstracción tan radical que al lectoescritor no le quede más remedio que volver por sus propios medios a lo concreto (después de tocar fondo, no queda más que dejarse flotar, de regreso, hacia la superficie del mundo) ¿Podrá cumplir con este objetivo la poesía maquinal?

'''URL:''' http://www.motorhueso.net/text/pm.php

'''Wayback Machine:''' https://web.archive.org/web/20160313052314/http://www.motorhueso.net/text/pm.php

[[Categoría:Manifiestos]]
[[Categoría:Eugenio Tisselli]]
[[Categoría:Español]]
[[Categoría:España]]
[[Categoría:2006]]

1994 - Cyberspace and the American Dream: A Magna Carta for the Knowledge Age - Esther Dyson, George Gilder, George Keyworth, Alvin Toffler

2017-03-30T22:19:35Z

Eva:

[[Archivo:Cyberspace an american dream.jpg|miniaturadeimagen|derecha]]

'''Cyberspace and the American Dream: A Magna Carta for the Knowledge Age

by Esther Dyson, George Gilder, George Keyworth, and Alvin Toffler

Future Insight Release 1.2 n August 1994

'''Preamble''''''

The central event of the 20th century is the overthrow of matter. In technology, economics, and the politics of nations, wealth -- in the form of physical resources -- has been losing value and significance. The powers of mind are everywhere ascendant over the brute force of things.

In a First Wave economy, land and farm labor are the main "factors of production." In a Second Wave economy, the land remains valuable while the "labor" becomes massified around machines and larger industries. In a Third Wave economy, the central resource -- a single word broadly encompassing data, information, images, symbols, culture, ideology, and values -- is actionable knowledge.

The industrial age is not fully over. In fact, classic Second Wave sectors (oil, steel, auto-production) have learned how to benefit from Third Wave technological breakthroughs -- just as the First Wave's agricultural productivity benefited exponentially from the Second Wave's farm-mechanization.

But the Third Wave, and the Knowledge Age it has opened, will not deliver on its potential unless it adds social and political dominance to its accelerating technological and economic strength. This means repealing Second Wave laws and retiring Second Wave attitudes. It also gives to leaders of the advanced democracies a special responsibility -- to facilitate, hasten, and explain the transition.

As humankind explores this new "electronic frontier" of knowledge, it must confront again the most profound questions of how to organize itself for the common good. The meaning of freedom, structures of self-government, definition of property, nature of competition, conditions for cooperation, sense of community and nature of progress will each be redefined for the Knowledge Age -- just as they were redefined for a new age of industry some 250 years ago.

What our 20th-century countrymen came to think of as the "American dream," and what resonant thinkers referred to as "the promise of American life" or "the American Idea," emerged from the turmoil of 19th-century industrialization. Now it's our turn: The knowledge revolution, and the Third Wave of historical change it powers, summon us to renew the dream and enhance the promise.

'''URL:''' http://www.pff.org/issues-pubs/futureinsights/fi1.2magnacarta.html

'''Wayback Machine:''' http://web.archive.org/web/20170102220011/http://www.pff.org/issues-pubs/futureinsights/fi1.2magnacarta.html

[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Estados Unidos]]
[[Categoría:1994]]
[[Categoría:Esther Dyson]]
[[Categoría:George Glider]]
[[Categoría:George Keyworth]]
[[Categoría:Alvin Toffler]]

2003 - Why We Fight — An Anti-Idiotarian Manifesto (2.0) - Eric S. Raymond

2017-03-30T22:11:35Z

Eva:

[[Archivo:Anti idotarian manifesto.jpg|miniaturadeimagen|derecha]]
WHEREAS, the period since the terrible events of 9/11 has exposed the vacuity and moral confusion of all too many of the thinkers, politicians, and activists operating within conventional political categories;

WHEREAS, the Left has failed us by succumbing to reflexive anti-Americanism; by apologizing for terrorist acts; by propounding squalid theories of moral equivalence; and by blaming the victims of evil for the act of evil;

WHEREAS, the Right has failed us by pushing ‘anti-terrorist’ measures which bid fair to be both ineffective and prejudicial to the central liberties of a free society; and in some cases by rhetorically descending to almost the same level of bigotry as our enemies;

WHEREAS, even many of the Libertarians from whom we expected more intelligence have retreated into a petulant isolationism, refusing to recognize that, at this time, using the state to carry the war back to the aggressors is our only practical instrument of self-defense;

WE THEREFORE ASSERT the following convictions as the premises of the anti-idiotarian position:

1. THAT Western civilization is threatened with the specter of mass death perpetrated by nuclear, biological, and chemical weapons placed in the hands of terrorists by rogue states;

2. THAT the terrorists and their state sponsors have declared and are pursuing a war not against the vices of Western civilization but against its core virtues: against the freedom of thought and speech and conscience, against the life of reason; against the equality of women, against pluralism and tolerance; against, indeed, all the qualities which separate civilized human beings from savagery, slavery, and fanaticism;

3. THAT no adjustments of American or Western foreign policy, or concessions to the Palestinians, or actions taken against globalization, or efforts to alleviate world poverty, are of more than incidental interest to these terrorists;

4. THAT, upon their own representation, they will not be dissuaded from their violence by any surrender less extreme than the imposition of Islam and shari'a law on the kaffir West;

5. THAT, as said terrorists have demonstrated the willingness to use civilian airliners as flying bombs to kill thousands of innocent people, we would commit a vast crime of moral negligence if we underestimated the scope of their future malice even without weapons of mass destruction;

6. THAT they have sought, and on plausible evidence found, alliance with rogue states such as pre-liberation Iraq, Iran, and North Korea; states that are known to have active programs working towards the development and delivery of weapons of that would multiply the terrorists' ability to commit atrocities by a thousandfold;

WE THEREFORE DECLARE that both the terrorists and their state sponsors have made themselves outlaws from the moral community of mankind, to be dealt with as rabid dogs are.

WE FURTHER AFFIRM that the ‘root cause’ of Islamo-fascist terrorism lies in the animating politico-religious ideas of fundamentalist Islam and not in any signfiicant respect elsewhere, and that a central aim of the war against terror must be to displace and discredit those animating ideas.

WE REJECT, as a self-serving power grab by the least trustworthy elements of our own side, the theory that terrorist depredations can be effectively prevented by further restrictions on the right of free speech, or the right of peaceable assembly, or the right to bear arms in self-defense; and we strenuously oppose police-state measures such as the imposition of national ID cards or airport-level surveillance of public areas;

IN GRAVE KNOWLEDGE that the state of war brings out the worst in both individual human beings and societies, we reject the alternative of ceding to the world's barbarians the exclusive privilege of force;

WE SUPPORT the efforts of the United States of America, its allies, and the West to hunt down and capture or kill individual members of the Islamo-fascist terror network;

WE SUPPORT speedy American and allied military action against the rogue states that support terrorism, both as a means of alleviating the immediate threat and of deterring future state sponsorship of terrorism by the threat of war to the knife.

WE SUPPORT, in recognition of the fact that the military and police cannot and should not be everywhere, efforts to meet the distributed threat with a distributed response; to arm airline pilots, and to recognize as well the ordinary citizen's right and duty to respond to terrorist aggression with effective force.

WE SUPPORT, as an alternative greatly preferable to future nuclear/chemical/biological blackmail of the West, the forcible overthrow of the governments of nations that combine sponsorship of terrorism with the possession of weapons of mass destruction; and the occupation of those nations until such time as the root causes of terrorism have been eradicated from their societies.

WE DEFINE IDIOTARIANISM as the species of delusion within the moral community of mankind that gives aid and comfort to terrorists and tyrants operating outside it.

WE REJECT the idiotarianism of the Left — the moral blindness that refuses to recognize that free markets, individual liberty, and experimental science have made the West a fundamentally better place than any culture in which jihad, ‘honor killings’, and female genital mutilation are daily practices approved by a stultifying religion.

WE REJECT the idiotarianism of the Right — whether it manifests as head-in-the-sand isolationism or as a a Christian-chauvinist political agenda that echoes the religious absolutism of our enemies.

WE ARE MEMBERS OF A CIVILIZATION, and we hold that civilization to be worth defending. We have not sought war, but we will fight it to the end. We will fight for our civilization in our thoughts, in our words, and in our deeds.

WE HAVE AWAKENED; we have seen the face of evil in the acts of the Bin Ladens and Husseins and Arafats of the world; we have seen through the lies and self-delusions of the idiotarians who did so much to enable and excuse their evil. We shall not flinch from our duty to confront that evil.

WE SHALL DEMAND as citizens and voters that those we delegate to lead pursue the war against terror with an unflagging will to victory and all means necessary — while remaining always mindful that we must not become what we fight;

WE SHALL REMEMBER that the West's keenest weapons are reason and the truth; that we must shine a pitiless light on the lies from which terrorist hatred is built; and that we must also be vigilant against the expedient lie from our own side, lest our victories become tainted and hollow, sowing trouble for the future.

WE HAVE FAITH that we are equal to these challenges; we shall not be paralyzed by fear of the enemy, nor yet by fear of ourselves;

WE SHALL SHED the moral cowards and the appeasers and the apologists; and we shall fight the barbarians and fanatics, and we shall defeat them. We shall defeat them in war, crushing their dream of dominion; and we shall defeat them in peace, using our wealth and freedoms to win their women and children to civilized ways, and ultimately wiping their diseased and virulent ideologies from the face of the Earth.

THIS WE SWEAR, on the graves of those who died at the World Trade Center; and those who died in the Sari Club in Bali; and those who died on U.S.S. Cole; and indeed on the graves of all the nameless victims in the Middle East itself who have been slaughtered by terrorism and rogue states:

YOU SHALL NOT HAVE DIED IN VAIN.
Eric S. Raymond
26 December 2003

'''URL:''' http://www.catb.org/~esr/aim/

'''Wayback Machine:''' https://web.archive.org/web/*/http://www.catb.org/~esr/aim/

[[Categoría:Manifiestos]]
[[Categoría:Eric.S.Raymond]]
[[Categoría:Inglés]]
[[Categoría:Estados Unidos]]
[[Categoría:2003]]

2012 - Open Transport Data Manifesto - Epsi

2017-03-30T22:10:33Z

Eva:

[[Archivo:Open data transport manifesto.jpg|miniaturadeimagen|derecha]]

El Manifiesto es el producto de un taller de ePSI que tuvo lugar en Helsinki en septiembre del 2012, en el período previo a OKFest, 'Transport Data - impulsando la movilidad del futuro y las ciudades inteligentes'. Participaron 33 personas de 15 países para debatir la situación actual en la apertura de los datos de transporte en Europa, los sueños y potencialidades, así como las barreras y posibles tipos de soluciones para superarlos.

'''URL:''' http://www.epsiplatform.eu/transport, http://www.epsiplatform.eu/sites/default/files/Helsinki%20Transport%20Data%20Manifesto%202.1%20%28final%29.pdf, http://www.epsiplatform.eu/sites/default/files/infographic_overview_light.pdf

'''Wayback Machine:''' https://web.archive.org/web/20160313050312/http://www.epsiplatform.eu/transport, https://web.archive.org/web/20160313050659/http://www.epsiplatform.eu/sites/default/files/infographic_overview_light.pdf, https://web.archive.org/web/20160313050809/http://www.epsiplatform.eu/sites/default/files/Helsinki%20Transport%20Data%20Manifesto%202.1%20%28final%29.pdf

[[Categoría:Manifiestos]]
[[Categoría:Epsi]]
[[Categoría:Inglés]]
[[Categoría:Finlandia]]
[[Categoría:2012]]

2014 - Statement to Internet Ungovernance Forum - Edward Snowden

2017-03-30T21:56:43Z

Eva:

[[Archivo:Internet gobernance.jpg|miniaturadeimagen|derecha]]
Istanbul, Turkey
September 5, 2014

Thank you for inviting me to speak to you today. I apologize for not being able to speak to you by
video conference. Last-minute technical problems have made that method of communication
impossible.

I'd like to take this opportunity, before an audience of activists, academics and journalists in Istanbul to
discuss the relationship between censorship and surveillance, which are in many ways two sides of the
same coin. The Turkish people are subject to both of these technically assisted forms of state
manipulation, although the former has received far more attention than the latter.

When governments censor their citizens' access the Internet, they not only trample on basic human
rights, but they also make it much easier for foreign governments to gain access to those domestic
communications. For censorship equipment to be able to function, domestic traffic must flow through
it. This equipment is a natural target for nation-state intelligence agencies. If they can hack into and
compromise the censorship equipment, they get access to all of the communications that flow through
it. It only takes one security flaw or an intentionally placed backdoor in a censorship device to
transform it from a tool of domestic oppression to a trojan horse for foreign government surveillance.
In the past few years, several governments have started to openly question their reliance on foreign-
made communications technology, whether 4G telephone network equipment made by Huawei, or
Internet switches made by Cisco. The national security arguments against foreign-made networking
technology apply equally to foreign-made censorship technology. When governments install censorship
equipment at the core of their national communications networks, how can they be sure that they're not
also inviting in a foreign intelligence service?

In an ideal world, governments would respect the free speech rights of their citizens enough to not filter
their Internet communications. Sadly, we do not yet live in that world. Perhaps in time, governments
will realize that the serious cybersecurity and foreign-surveillance threats posed by censorship
equipment outweigh whatever supposed benefits of national stability and control that they bring.

To all of those present who struggled in Gezi Park, to those who struggle at the Ungovernance Forum
today, thank you for your support and your solidarity. You have my support and solidarity.

'''URL:''' https://www.aclu.org/sites/default/files/assets/es-statement-ungovernance-forum-sept-5.pdf

'''Wayback Machine:''' http://web.archive.org/web/20160816041326/https://www.aclu.org/sites/default/files/assets/es-statement-ungovernance-forum-sept-5.pdf

[[Categoría:Biblioteca]]
[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Turquía]]
[[Categoría:2014]]
[[Categoría:Edward Snowden]]
[[Categoría:ACLU]]

2011 - EduFashion Manifesto - EduFashion

2017-03-30T21:56:10Z

Eva:

[[Archivo:Edu fashion.jpg|miniaturadeimagen]]
Manifesto

A Work in Progress

EDUfashion is the project by which we intend to express a new approach of fashion creation and production and seek to make it practical and workable. We will do so by following certain guidelines that inspire our search for solutions.

We want to rethink

Professional development as a triangular process between top-down permanent education and horizontal practices to meet the diverse needs of current production processes and know-hows.

Corporate culture and consumerism for a new form of entrepreneurship: business as a way of achieving and sustaining social goals and not the opposite.

Branding tools and intellectual property in order to foster social bonding and redistribution of value instead of exploitation and accumulation of rent.

Online community as a new public space where to share knowledges and skills, so to produce culture and wealth.

Material and immaterial production as venues to empowerment via multitasking without falling under the threat of precarity and unemployment.

Patterns as the source codes of garments and copying as legitimate resource of the fashion industry.

Highlighting Excellence

From time to time truly outstanding work stands out and in the fashion industry there are a number of designers who deserve recognition. That's why it's also part of our manifesto to showcase some of this talent, including the beauty of Jovani styled prom dresses from New York and others who have garnered mainstream attention, for example, from Vogue. If you want to find out more about our driving motives then check our about page. Most recently we have been celebrating the launch of a new line of fashion handbags, which feature styles from multiple designers and a range of prominent fashions. We are incredibly excited to share their work with you in the near future.

This manifesto is a work in progress which will be updated once in a while.

*Véase el proyecto de EduFashion [https://web.archive.org/web/20160205124523/http://www.openwear.org/ "Open Wear"].

'''URL:''' http://www.edufashion.org/manifesto-eng.html

'''Wayback Machine:''' https://web.archive.org/web/20160819213359/http://www.edufashion.org/manifesto-eng.html

[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Italia]]
[[Categoría:Reino Unido]]
[[Categoría:Eslovenia]]
[[Categoría:Dinamarca]]
[[Categoría:2011]]
[[Categoría:EDUFashion]]

1996 - Arte robótica: un manifiesto - Eduardo Kac y Marcel.lí Antúnez Roca

2017-03-30T21:43:11Z

Eva:

[[Archivo:Eduardo kac copia.jpg|miniaturadeimagen|derecha]]
Octubre 1996

Después de conocerse en Helsinki, en Octubre de 1996, durante el Festival MuuMedia, Eduardo Kac y Marceli Antúnez, ambos participantes en la exposición de arte robótica "Metamachines: Where is the Body?"(Metamáquinas: ¿Dónde está el cuerpo?), en la galería Otso de Tapiola y en el Seminario de Arte y Robótica en el Ateneum de Helsinki, decidieron poner sus notas en común y redactaron esta declaración conjunta:

Al expandir la definición limitada de robot en campos como la ciencia, la ingeniería y la industria, los ART ROBOTS (los robots artísticos) abren una puerta a la crítica social, las preocupaciones personales y el libre juego de la imaginación y la fantasía. Los robots son objetos que funcionan en el tiempo y el espacio. Sus estructuras espacio-temporales abiertas y diversas permiten dar respuestas específicas a diferentes estímulos. Algunas de las formas que puede tomar el arte robótica incluyen agentes autónomos de espacio real, autómatas biomórficos, prótesis electrónicas integradas con organismos vivos y telerobots (incluyendo a los webots).

Los robots no son solamente objetos que el público puede percibir -como ocurre con todas las otras manifestaciones artísticas-, sino que son capaces de percibir al público por sí mismos, respondiendo de acuerdo con las posibilidades de sus sensores. Los robots manifiestan comportamientos. El comportamiento robótico puede ser mimético, sintético, o una combinación de ambos. Al simular aspectos físicos y temporales de nuestra existencia, los robots pueden inventar nuevos comportamientos.

Una de las principales preocupaciones del arte robótica es la propia naturaleza del comportamiento de un robot: ¿Es autónomo, semi-autónomo, sensible, interactivo, orgánico, adaptable, telepresencial o de algún otro tipo? El comportamiento de otros agentes con los cuales pueden interactuar los robots es también un factor clave del arte robótica. La interacción que se produce entre todos los elementos que forman parte de una pieza determinada (robots, humanos, etc) define las cualidades específicas de esa pieza.

Los robots no son esculturas, pinturas o video arte. Los ART ROBOTS no deben confundirse con las estatuas o esculturas estáticas y antropomórficas de aspecto mecánico (ni siquiera con las que muestran imágenes de video en movimiento). Los programas que recuperan información y realizan otras funciones en Internet, aunque reciben el nombre engañoso de robots de Internet, o Netbots, no tienen nada que ver con el arte robótica. El arte robótica siempre conlleva un componente de espacio real.

Los robots son una nueva forma de arte, y son propensos a hibridizarse con diversas tecnologías. Esta cualidad les hace trascender la categoría de objeto para difuminarse en el entorno.

El arte robótica puede darse en espacios físicos, en el espacio telemático, en entornos virtuales o en cualquier combinación de estos espacios que incluya una ubicación real.

Los robots son algo nuevo en el mundo del arte. El arte robótica tiene antecedentes en el trabajo de artistas como Tinguely y Paik, pero constituye una forma de arte única por derecho propio, diferente de la escultura, el video, la performance y otras prácticas artísticas comunes. Hay prototipos en máquinas secuenciales que repiten incesantemente sus estructuras temporales. Sólo los microprocesadores permiten un comportamiento más complejo y distinto cada vez, ya sea de forma específica o aleatoria. Los microprocesadores son tan importantes para el arte robótica como lo son los pinceles, la pintura y los lienzos para la pintura.

Los robots pertenecen a una nueva categoría de objetos y situaciones que rompe con la taxonomía tradicional del arte. Donde antes se hablaba de límites y fronteras ahora encontramos nuevos territorios. Estos nuevos terrenos artísticos están abiertos a nuevas posibilidades y se relacionan entre ellos de manera productiva. En estos nuevos terrenos heterodoxos nacen criaturas híbridas sin un modelo que las preceda. Combinada con los medios de telecomunicaciones, la robótica da lugar al arte telepresencial, en que el robot es el huésped de un sujeto alejado.

Como género, los robots no aspiran a convertirse en formas cerradas y fijas. Pueden perecer como concepto si se produce una nueva situación que los abarque y los sobrepase. Los robots existen en una confluencia de debate creativo y exploración conceptual que se manifiestan en los extensos dominios de la telemática y la cibernética.

'''URL:'''http://www.ekac.org/kac.roca.sp.html

'''Wayback Machine:''' https://web.archive.org/web/*/http://www.ekac.org/kac.roca.sp.html

[[Categoría:Manifiestos]]
[[Categoría:Eduardo Kac]]
[[Categoría:Marcel.lí Antúnez Roca]]
[[Categoría:Español]]
[[Categoría:Finlandia]]
[[Categoría:1996]]

2016 - Basic Income Manifesto - Economic Security Project

2017-03-30T21:42:40Z

Eva:

[[Archivo:Economic security project.jpg|miniaturadeimagen|derecha]]
BELIEF STATEMENT

We believe people need financial security, and cash might be the most effective and efficient way to provide it.

The time has come to consider new, bold ways to make our economy work again for all Americans. In a time of immense wealth, no one should live in poverty, nor should the middle class be consigned to a future of permanent stagnation or anxiety. Automation, globalization, and financialization are changing the nature of work, and these shifts require us to rethink how to guarantee economic opportunity for all.

A basic income is a bold idea with a long history and the potential to free people to pursue the work and life they choose. Now is the time to think seriously about how recurring, unconditional cash stipends could work, how to pay for them, and what the political path might be to make them a reality, even while many of us are engaged in protecting the existing safety net.

The undersigned commit to work over the coming months and years to research, experiment, and inspire others to think through how best to design cash programs that empower Americans to live and work in the new economy.

'''URL:''' http://economicsecurityproject.org/

'''Wayback Machine:''' https://web.archive.org/web/20161209013643/http://economicsecurityproject.org/

[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Estados Unidos]]
[[Categoría:2016]]
[[Categoría:Economic Security Project]]

2003 - The Companion Species Manifesto: Dogs, People, and Significant Otherness. - Donna Haraway

2017-03-30T21:05:20Z

Eva:

[[Archivo:Donna hataway 3.jpg|miniaturadeimagen|derecha]]
'''PDF:'''
[[Archivo:Haraway companion.pdf|sinmarco|izquierda]]

'''URL:''' http://xenopraxis.net/readings/haraway_companion.pdf (un fragmento del libro solamente)

'''Wayback Machine:''' http://web.archive.org/web/20161014021627/https://nihilsentimentalgia09.files.wordpress.com/2013/03/haraway_companion_species_manifesto.pdf

[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Estados Unidos]]
[[Categoría:2003]]
[[Categoría:Donna Haraway]]
[[Categoría:Prickly Paradigm Press]]

Archivo:Haraway companion.pdf

2017-03-30T21:04:39Z

Eva:

1985 - Manifiesto Ciborg. El sueño irónico de un lenguaje común para las mujeres en el circuito integrado - Donna Haraway

2017-03-30T20:59:36Z

Eva:

[[Archivo:Manifiesto cyborg.jpg|miniaturadeimagen|derecha]]
Traducción de Manuel Talens con pequeños cambios de David de Ugarte.

'''PDF:''' [[Archivo:Manifiesto ciborg.pdf|sinmarco|izquierda]]

'''URL:''' http://xenero.webs.uvigo.es/profesorado/beatriz_suarez/ciborg.pdf

'''Wayback Machine:''' https://web.archive.org/web/*/http://xenero.webs.uvigo.es/profesorado/beatriz_suarez/ciborg.pdf

[[Categoría:Manifiestos]]
[[Categoría:Donna Haraway]]
[[Categoría:Español]]
[[Categoría:Estados Unidos]]
[[Categoría:1984]]

Archivo:Manifiesto ciborg.pdf

2017-03-30T20:58:54Z

Eva:

Archivo:Haraway.pdf

2017-03-30T20:49:32Z

Eva:

2010 - El manifiesto de la red telecomunista - Dmytri Kleiner

2017-03-30T19:46:43Z

Eva:

[[Archivo:Manifiesto telecomunista.png|miniaturadeimagen|derecha]]
Traducido al castellano por Nicolás Reynolds y Mauricio Pasquier Juan. Correcciones por Andrea Granate y Facundo Acevedo.

'''PDF:'''
[[Archivo:El-manifiesto-telecomunistaweb.pdf|sinmarco|izquierda]]

'''URL:'''http://endefensadelsl.org/telekommunist_manifesto.html#

'''Wayback Machine:'''https://web.archive.org/web/*/http://endefensadelsl.org/telekommunist_manifesto.html#

[[Categoría:Manifiestos]]
[[Categoría:Dmytri Kleiner]]
[[Categoría:Español]]
[[Categoría:Holanda]]
[[Categoría:2010]]

Archivo:El-manifiesto-telecomunistaweb.pdf

2017-03-30T19:46:06Z

Eva:

2010 - El manifiesto de la red telecomunista - Dmytri Kleiner

2017-03-30T19:40:35Z

Eva:

[[Archivo:Manifiesto telecomunista.png|miniaturadeimagen|derecha]]
Traducido al castellano por Nicolás Reynolds y Mauricio Pasquier Juan. Correcciones por Andrea Granate y Facundo Acevedo.

'''Enlace:'''http://endefensadelsl.org/telekommunist_manifesto.html#

'''Wayback Machine:'''https://web.archive.org/web/*/http://endefensadelsl.org/telekommunist_manifesto.html#

[[Categoría:Manifiestos]]
[[Categoría:Dmytri Kleiner]]
[[Categoría:Español]]
[[Categoría:Holanda]]
[[Categoría:2010]]

Archivo:Telekommunist.pdf

2017-03-30T19:33:37Z

Eva:

2005 - Critical Thinking for Managers Manifesto - Crystal King

2017-03-30T19:31:17Z

Eva:

[[Archivo:Critical thinking .jpg|miniaturadeimagen|derecha]]

'''PDF:'''
[[Archivo:17.CriticalThinking.pdf|sinmarco|izquierda]]

'''URL:''' http://changethis.com/manifesto/17.CriticalThinking/pdf/17.CriticalThinking.pdf

'''Wayback Machine:''' https://web.archive.org/web/*/http://changethis.com/manifesto/17.CriticalThinking/pdf/17.CriticalThinking.pdf

[[Categoría:Manifiestos]]
[[Categoría:Crystal King]]
[[Categoría:Inglés]]
[[Categoría:Estados Unidos]]
[[Categoría:2005]]

Archivo:17.CriticalThinking.pdf

2017-03-30T19:30:30Z

Eva:

1995 - The Dead Media Manifesto - Bruce Sterling

2017-03-30T19:29:32Z

Eva:

[[Archivo:Bruce sterling.jpg|miniaturadeimagen|derecha]]

Bruce Sterling
bruces@well.sf.ca.us

The DEAD MEDIA Project: A Modest Proposal and a Public Appeal

by Bruce Sterling

Ever notice how many books there are about the Internet these days?
About 13,493 so far, right? And how about "multimedia?" There are
8,784 books on this topic, even though no one has ever successfully
defined the term. CD-ROM -- is there a single marketable topic left that
hasn't been shovelwared into the vast digital mire that is CD-ROM? And
how about the "Information Superhighway" and "Virtual Reality"? Every
magazine on the planet has done awestruck vaporware cover stories on
these two consensus-hallucinations.

Our culture is experiencing a profound radiation of new species of
media. The centralized, dinosaurian one-to-many media that roared and
trampled through the 20th century are poorly adapted to the postmodern
technological environment. The new media environment is aswarm with
lumbering toothy digital mammals. It's all lynxes here, and gophers there,
plus big fat venomous webcrawlers, appearing in Pleistocene profusion.

This is all well and good, and it's lovely that so many people are
paying attention to this. Nothing gives me greater pleasure as a
professional garage futurist than to ponder some weird new mutant
medium and wonder how this squawking little monster is going to wriggle
its way into the interstices between human beings. Still, there's a
difference between this pleasurable contemplation of the technological
sublime and an actual coherent understanding of the life and death of
media. We have no idea in hell what we are doing to ourselves with these
new media technologies, and no consistent way even to discuss the
subject. Something constructive ought to be done about this situation.

I can't do much about it, personally, because I'm booked up to the
eyeballs until the end of the millennium. So is my good friend Richard
Kadrey, author of the COVERT CULTURE SOURCEBOOK. Both Kadrey and
myself, however, recently came to a joint understanding that what we'd
really like to see at this cultural conjunction is an entirely new kind of
book on media. A media book of the dead.

Plenty of wild wired promises are already being made for all the
infant media. What we need is a somber, thoughtful, thorough, hype-free,
even lugubrious book that honors the dead and resuscitates the spiritual
ancestors of today's mediated frenzy. A book to give its readership a
deeper, paleontological perspective right in the dizzy midst of the digital
revolution. We need a book about the failures of media, the collapses of
media, the supercessions of media, the strangulations of media, a book
detailing all the freakish and hideous media mistakes that we should know
enough now not to repeat, a book about media that have died on the barbed
wire of technological advance, media that didn't make it, martyred media,
dead media. THE HANDBOOK OF DEAD MEDIA. A naturalist's field guide for
the communications paleontologist.

Neither Richard Kadrey nor myself are currently in any position to
write this proposed handbook. However, we both feel that our culture
truly requires this book: this rich, witty, insightful, profusely
illustrated, perfectbound, acid-free-paper coffee-table book, which is to
be brought out, theoretically, eventually, by some really with-it, cutting-
edge early-21st century publisher. The kind of book that will appear in
seventeen different sections of your local chainstore: Political Affairs,
Postmodern Theory, Computer Science, Popular Mechanics, Design Studies,
the coffeetable artbook section, the remainder table -- you know,
whatever.

It's a rather rare phenomenon for an established medium to die. If
media make it past their Golden Vaporware stage, they usually expand
wildly in their early days and then shrink back to some protective niche as
they are challenged by later and more highly evolved competitors. Radio
didn't kill newspapers, TV didn't kill radio or movies, video and cable
didn't kill broadcast network TV; they just all jostled around seeking a
more perfect app.

But some media do, in fact, perish. Such as: the phenakistoscope.
The teleharmonium. The Edison wax cylinder. The stereopticon. The
Panorama. Early 20th century electric searchlight spectacles. Morton
Heilig's early virtual reality. Telefon Hirmondo. The various species of
magic lantern. The pneumatic transfer tubes that once riddled the
underground of Chicago. Was the Antikythera Device a medium? How
about the Big Character Poster Democracy Wall in Peking in the early 80s?

Never heard of any of these? Well, that's the problem. Both Kadrey
and I happen to be vague aficionados of this field of study, and yet we both
suspect that there must be hundreds of dead media, known to few if any.
It would take the combined and formidable scholarly talents of, say,
Carolyn "When Old Technologies Were New" Marvin and Ricky "Learned Pigs
and Fireproof Women" Jay to do this ambitious project genuine justice.
Though we haven't asked, we kinda suspect that these two distinguished
scholars are even busier than me and Kadrey, who, after all, are just
science fiction writers who spend most of our time watching Chinese
videos, reading fanzines and making up weird crap.

However. We do have one, possibly crucial, advantage. We have
Internet access. If we can somehow convince the current digital media
community-at-large that DEAD MEDIA is a worthwhile project, we believe
that we may be able to compile a useful public-access net archive on this
subject. We plan to begin with the DEAD MEDIA World Wide Web Page, on a
site to-be-announced. Move on, perhaps, to alt.dead.media. Compile the
Dead Media FAQ. We hope to exploit the considerable strengths of today's
cutting-edge media to create a general public-domain homage to the media
pioneers of the past.

Here's the deal. Kadrey and I are going to start pooling our notes.
We're gonna make those notes freely available to anybody on the Net. If
we can get enough net.parties to express interest and pitch in reports,
stories, and documentation about dead media, we're willing to take on the
hideous burdens of editing and system administration -- no small deal
when it comes to this supposedly "free" information.

We both know that authors are supposed to jealously guard really
swell ideas like this, but we strongly feel that that just ain't the way to
do a project of this sort. A project of this sort is a spiritual quest and an
act in the general community interest. Our net heritage belongs to all
netkind. If you yourself want to exploit these notes to write the DEAD
MEDIA HANDBOOK -- sure, it's our "idea," our "intellectual property," but
hey, we're cyberpunks, we write for magazines like BOING BOING, we can't
be bothered with that crap in this situation. Write the book. Use our
notes and everybody's else's. We won't sue you, we promise. Do it. Knock
yourself out.

I'll go farther, ladies and gentlemen. To prove the profound
commercial potential of this tilt at the windmill, I'll personally offer a
CRISP FIFTY-DOLLAR BILL for the first guy, gal, or combination thereof to
write and publish THE DEAD MEDIA HANDBOOK. You can even have the title
if you want it. Just keep in mind that me and Kadrey (or any combination
thereof) reserve the right to do a book of our own on the same topic if you
fail to sufficiently scratch our itch. The prospect of "competition"
frightens us not at all. It never has, frankly. If there's room for 19,785
"Guide to the Internet" books, there has got to be room for a few useful
tomes on dead media.

Think of it this way. How long will it be before the much-touted
World Wide Web interface is itself a dead medium? And what will become
of all those billions of thoughts, words, images and expressions poured
onto the Internet? Won't they vanish just like the vile lacquered smoke
from a burning pile of junked Victrolas? As a net.person, doesn't this
stark realization fill you with a certain deep misgiving, a peculiarly
postmodern remorse, an almost Heian Japanese sense of the pathos of lost
things? If it doesn't, why doesn't it? It ought to.

Speaking of dead media and mono no aware -- what about those
little poems that Lady Murasaki used to write and stick inside cleft
sticks? To be carried by foot-messager to the bamboo-shrouded estate of
some lucky admirer after a night's erotic tryst? That was a medium. That
medium was very alive once, a mainstay of one of the most artistically
advanced cultures on earth. And isn't it dead? What are we doing today
that is the functional equivalent of the cleft sticks of Murasaki Shikibu,
the world's first novelist? If we ignore her historical experience, how
will we learn from our own?

Listen to the following, all you digital hipsters. This is Jaqueline
Goddard speaking in January 1995. Jacqueline was born in 1911, and she
was one of the 20th century's great icons of bohemian femininity. Man Ray
photographed her in Paris in 1930, and if we can manage it without being
sued by the Juliet Man Ray Trust, we're gonna put brother Man Ray's knock-
you-down-and-stomp-you-gorgeous image of Jacqueline up on our
vaporware Website someday. She may be the patron saint of this effort.

Jacqueline testifies: "After a day of work, the artists wanted to get
away from their studios, and get away from what they were creating.
They all met in the cafes to argue about this and that, to discuss their
work, politics and philosophy.... We went to the bar of La Coupole. Bob,
the barman, was a terrible nice chap... As there was no telephone in those
days everybody used him to leave messages. At the Dome we also had a
little place behind the door for messages. The telephone was the death of
Montparnasse."

"*The telephone was the death of Montparnasse.*" Mull that
Surrealist testimony over a little while, all you cafe-society modemites.
Jacqueline may not grok TCP/IP, but she has been there and done that. I
haven't stopped thinking about that remark since I first read it. For whom
does the telephone bell toll? It tolls for me and thee -- sooner or later.

Can you help us? We wish you would, and think you ought to.

Bruce Sterling -- bruces@well.sf.ca.us
Richard Kadrey -- kadrey@well.sf.ca.us

'''URL:'''

http://www.deadmedia.org/

http://www.deadmedia.org/modest-proposal.html

https://w2.eff.org/Misc/Publications/Bruce_Sterling/Dead_Media_Project/dmp_sterling.proposal

'''Wayback Machine:'''

https://web.archive.org/web/20160901032158/http://www.deadmedia.org/

https://web.archive.org/web/20160901032251/http://www.deadmedia.org/modest-proposal.html

https://web.archive.org/web/20160901032343/https://w2.eff.org/Misc/Publications/Bruce_Sterling/Dead_Media_Project/dmp_sterling.proposal

[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Estados Unidos]]
[[Categoría:1995]]
[[Categoría:Bruce Sterling]]

1998 - Incomplete Manifesto for Creative Growth - Bruce Mau

2017-03-30T19:17:27Z

Eva:

[[Archivo:Bruce mau.jpg|miniaturadeimagen|derecha]]

Subject: Manifesto for Creative Growth

From: mieke gerritzen

Date: Fri, 4 Dec 1998 15:31:29 +0100

The following manifesto was presented by the Canadian designer Bruce Mau at the Doors of Perception conference last week.

Manifesto for growth

1 Allow events to change you

2 Forget about good

3 process is more important than outcome

4 love your experiments like ugly children

5 go Deep

6 capture accidents

7 study

8 drift

9 begin anywhere

10 everyone is a leader

11 harvest ideas, edit applications

12 keep moving

13 slow down

14 don't be cool (cool is conservative fear, dressed in black)

15 ask stupid questions

16 collaborate

17 an image which email won't replicate

18 Allow space for ideas you haven't had yet

19 Stay up late

20 Work the metaphor

21 time is genetic

22 repeat yourself

23 make your own tolos

24 stand on someone's shoulders

25 avoid software (everyone has it)

26 don't clean your desk

27 don't enter awards (its bad for you)

28 creativity is not device dependent

29 organisation is liberty

30 don't borrow money

31 listen carefully

32 take field trips

33 imitate

34 make mistakes faster

35 scat (break it, stretch it, crack it, fold it)

36 explore the other edge

37 coffee breaks, cab rides, ream (?) romos

38 avoid fields, jump fences

39 laugh

40 remember

41 power to the people

'''URL:''' http://www.nettime.org/absoluteone.ljudmila.org/nettime.php

'''Wayback machine:''' https://web.archive.org/web/20160601230022/http://www.nettime.org/absoluteone.ljudmila.org/nettime.php

[[Categoría:Manifiestos]]
[[Categoría:Bruce Mau]]
[[Categoría:1998]]
[[Categoría:Inglés]]
[[Categoría:Nettime]]
[[Categoría:Italia]]

2008 - Manifiesto afectivista - Brian Holmes

2017-03-30T19:11:53Z

Eva:

[[Archivo:Brian holmes.jpg|miniaturadeimagen|derecha]]

En el siglo XX, el arte se juzgó de acuerdo con el estado existente del medio. Lo que importaba era el tipo de ruptura que hacía, los elementos formales e inesperados que aportaba, la manera en que desplazaba las convenciones del género o la tradición. La recompensa al final del proceso de evaluación era un sentido distinto de lo que el arte podía ser, un nuevo ámbito de posibilidades para lo estético. Hoy todo eso ha cambiado definitivamente.

El trasfondo frente al cual el arte se sitúa ahora es un estado particular de la sociedad. Lo que una instalación, un performance, un concepto o una imagen mediada pueden hacer con sus rescursos formales y semióticos es marcar un cambio posible o real respecto de las leyes, las costumbres, las medidas, las nociones de civilidad, los dispositivos técnicos o organizacionales que definen cómo debemos de comportarnos y cómo debemos relacionarnos unos a otros en determinado tiempo y lugar. Lo que hoy en día buscamos en el arte es una manera diferente de vivir, una oportunidad fresca de coexistencia. ¿Cómo es que esa oportunidad viene a darse? La expresión libera afecto, y el afecto es lo que mueve. La presencia, la gestualización y el habla transforman la cualidad del contacto entre las personas, crean tanto quiebres como junturas, y las técnicas expresivas del arte pueden multiplicar estos cambios inmediatos a lo largo de miles de caminos de la mente y los sentidos. Un evento artístico no requiere de un juez objetivo. Sabes que ha ocurrido cuando en su estela tú puedes traer algo más a la existencia. El activismo artístico es un afectivismo, abre y expande territorios. Estos territorios se ocupan con el compartir de una experiencia doble: una partición del yo privado en el que cada persona se halla encubierto, y del orden social que ha impuesto esa forma particular de privacidad o privación.
Cuando un territorio de posibilidad emerge, cambia el mapa social, tal como una avalancha, una inundación o un volcán lo hacen en la naturaleza. La manera más fácil en que la sociedad protege su forma existente es la simple negación, pretendiendo que el cambio nunca ha tenido lugar: y eso de hecho funciona en el paisaje de las mentalidades. Un territorio afectivo desaparece si no se le elabora, construye, modula, diferencia o prolonga con nuevos avances y conjunciones. No tiene caso defender esos territorios, incluso creer en ellos es tan sólo el comienzo más nimio. Lo que se necesita de manera urgente es que se les desarrolle con formas, ritmos, invenciones, discursos, prácticas, estilos, tecnologías, es decir, con códigos culturales. Un territorio emergente es apenas tan bueno como los códigos que lo sustentan. Cada movimiento social, cada desplazamiento en la geografía del corazón y cada revolución en el equilibrio de los sentidos necesita su estética, su gramática, su ciencia y su legalidad. Lo que significa que cada nuevo territorio necesita artistas, técnicos, intelectuales, universidades. Pero el problema es que los cuerpos expertos que ya existen son fortalezas que se defienden a sí mismas contra otras fortalezas.

El activismo tiene que confrontar obstáculos reales: guerras, pobreza, clase y opresión racial, fascismo rastrero, neoliberalismo tóxico. Sin embargo, lo que enfrentamos no son sólo soldados con armas sino sobre todo capital cognitivo: la sociedad del conocimiento, un orden atrozmente complejo. Lo impactante, desde el punto de vista afectivo, es el carácter de zombie de esa sociedad, su insistencia en el piloto automático, su gobernanza cibernética. Como los sistemas de control se llevan a cabo por disciplinas con accesos excesivamente regulados a otras disciplinas, el origen de cualquier lucha en los campos de conocimiento tiene que ser extra disciplinaria. Comienza fuera de la jerarquía de las disciplinas y se mueve a través de ellas transversalmente, adquiriendo estilo, contenido, aptitud y fuerza discursiva en el camino. La crítica extra disciplinaria es el proceso por el que las ideas afectivas –i.e. las artes conceptuales—se vuelven esenciales para el cambio social. Pero es vital mantener el vínculo entre la idea infinitamente comunicable y la performatividad incorporada y singular.

La sociedad mundial es el teatro del arte afectivista, el escenario en el que aparece y el circuito en el que se produce significado. Pero, ¿cómo podemos definir esta sociedad en términos existenciales? Primero, es claro que hoy en día existe una sociedad global: con comunicaciones globales, redes de transporte, sistemas educativos de referencia, tecnologías estandarizadas, instalaciones en franquicia para el consumo, finanzas globales, leyes comerciales y modas mediáticas. Ese estrato de experiencia es extenso, pero aun así es ciertamente delgado; sólo puede reclamar para sí parte del mundo de la vida. Para involucrarse con el arte afectivista, para criticarlo y recrearlo, no sólo tienes que saber dónde emergen nuevos territorios de sensibilidad –en qué localidad, en qué geografía histórica—sino también a qué escala. La existencia en la sociedad mundial se experimenta, o se vuelve estética, como una interacción de escalas calificándose unas a otras.

Suplementando lo global, hay una escala regional o continental basada en la agregación de poblaciones en bloques económicos. Se puede ver claramente en Europa, pero también en Norte y Sudamérica, en el Medio Oriente y en la red del sudeste asiático. No nos equivoquemos, ya hay efectos a esta escala, y movimientos sociales, y nuevas formas de utilizar tanto la gestualidad como el lenguaje, con mucho por venir en el futuro. Luego está la escala nacional, muy conocida, la escala con los conjuntos más enriquecidos de instituciones y los legados históricos más profundos, en los que los teatros de representación masiva están ya abrumadoramente establecidos y hundidos en inercias fantasmáticas. La escala nacional en el siglo XXI está en un estado febril de alerta roja continua, conectados en línea directa con el exceso e incluso a veces capaces de resonar con lo radicalmente nuevo. Luego de esto viene la escala territorial, hace mucho considerada la más humana: la escala de las movilidades cotidianas, la ciudad, el paisaje rural, que son las dimensiones arquetípicas de la sensibilidad. Este es el ámbito de la expresión popular, de las artes pláticas tradicionales, del espacio público y de la naturaleza como una presencia que se constituye con la humanidad: la escala en la que la subjetividad se expande por primera vez para encontrar lo desconocido.

Y así, al final alcanzamos la escala de la intimidad, de la piel, de las palpitaciones compartidas y los sentimientos, la escala que va de las familias y los amantes a las personas que se abrazan en la esquina o que charlan en un sauna o un café. Parecería que la intimidad, en nuestro tiempo, está cabizbaja, limitada con datos y vigilancia y seducción, aplastada con la influencia determinante de todas las demás escalas. Pero la intimidad es aún una fuerza impredecible, un espacio de gestación y por tanto una fuente del gesto, la noria en la que abreva el afecto. Sólo nosotros podemos atravesar todas las escalas, haciéndonos otros por el camino. De la cama del amante al abrazo salvaje de la muchedumbre al tacto ajeno de las redes, podría ser que la intimidad y sus expresiones artísticas sean lo que sorprenderán al siglo XXI.

'''URL:''' https://brianholmes.wordpress.com/2010/10/12/manifiesto-afectivista/

'''Wayback Machine:''' http://web.archive.org/web/20160826041342/https://brianholmes.wordpress.com/2010/10/12/manifiesto-afectivista/

[[Categoría:Manifiestos]]
[[Categoría:Español]]
[[Categoría:Estados Unidos]]
[[Categoría:2008]]
[[Categoría:Brian Holmes]]

2008 - Manifiesto afectivista - Brian Holmes

2017-03-30T19:11:29Z

Eva:

[[Archivo:Brian holmes.jpg|miniaturadeimagen|derecha]]

En el siglo XX, el arte se juzgó de acuerdo con el estado existente del medio. Lo que importaba era el tipo de ruptura que hacía, los elementos formales e inesperados que aportaba, la manera en que desplazaba las convenciones del género o la tradición. La recompensa al final del proceso de evaluación era un sentido distinto de lo que el arte podía ser, un nuevo ámbito de posibilidades para lo estético. Hoy todo eso ha cambiado definitivamente.

El trasfondo frente al cual el arte se sitúa ahora es un estado particular de la sociedad. Lo que una instalación, un performance, un concepto o una imagen mediada pueden hacer con sus rescursos formales y semióticos es marcar un cambio posible o real respecto de las leyes, las costumbres, las medidas, las nociones de civilidad, los dispositivos técnicos o organizacionales que definen cómo debemos de comportarnos y cómo debemos relacionarnos unos a otros en determinado tiempo y lugar. Lo que hoy en día buscamos en el arte es una manera diferente de vivir, una oportunidad fresca de coexistencia. ¿Cómo es que esa oportunidad viene a darse? La expresión libera afecto, y el afecto es lo que mueve. La presencia, la gestualización y el habla transforman la cualidad del contacto entre las personas, crean tanto quiebres como junturas, y las técnicas expresivas del arte pueden multiplicar estos cambios inmediatos a lo largo de miles de caminos de la mente y los sentidos. Un evento artístico no requiere de un juez objetivo. Sabes que ha ocurrido cuando en su estela tú puedes traer algo más a la existencia. El activismo artístico es un afectivismo, abre y expande territorios. Estos territorios se ocupan con el compartir de una experiencia doble: una partición del yo privado en el que cada persona se halla encubierto, y del orden social que ha impuesto esa forma particular de privacidad o privación.
Cuando un territorio de posibilidad emerge, cambia el mapa social, tal como una avalancha, una inundación o un volcán lo hacen en la naturaleza. La manera más fácil en que la sociedad protege su forma existente es la simple negación, pretendiendo que el cambio nunca ha tenido lugar: y eso de hecho funciona en el paisaje de las mentalidades. Un territorio afectivo desaparece si no se le elabora, construye, modula, diferencia o prolonga con nuevos avances y conjunciones. No tiene caso defender esos territorios, incluso creer en ellos es tan sólo el comienzo más nimio. Lo que se necesita de manera urgente es que se les desarrolle con formas, ritmos, invenciones, discursos, prácticas, estilos, tecnologías, es decir, con códigos culturales. Un territorio emergente es apenas tan bueno como los códigos que lo sustentan. Cada movimiento social, cada desplazamiento en la geografía del corazón y cada revolución en el equilibrio de los sentidos necesita su estética, su gramática, su ciencia y su legalidad. Lo que significa que cada nuevo territorio necesita artistas, técnicos, intelectuales, universidades. Pero el problema es que los cuerpos expertos que ya existen son fortalezas que se defienden a sí mismas contra otras fortalezas.

El activismo tiene que confrontar obstáculos reales: guerras, pobreza, clase y opresión racial, fascismo rastrero, neoliberalismo tóxico. Sin embargo, lo que enfrentamos no son sólo soldados con armas sino sobre todo capital cognitivo: la sociedad del conocimiento, un orden atrozmente complejo. Lo impactante, desde el punto de vista afectivo, es el carácter de zombie de esa sociedad, su insistencia en el piloto automático, su gobernanza cibernética. Como los sistemas de control se llevan a cabo por disciplinas con accesos excesivamente regulados a otras disciplinas, el origen de cualquier lucha en los campos de conocimiento tiene que ser extra disciplinaria. Comienza fuera de la jerarquía de las disciplinas y se mueve a través de ellas transversalmente, adquiriendo estilo, contenido, aptitud y fuerza discursiva en el camino. La crítica extra disciplinaria es el proceso por el que las ideas afectivas –i.e. las artes conceptuales—se vuelven esenciales para el cambio social. Pero es vital mantener el vínculo entre la idea infinitamente comunicable y la performatividad incorporada y singular.

La sociedad mundial es el teatro del arte afectivista, el escenario en el que aparece y el circuito en el que se produce significado. Pero, ¿cómo podemos definir esta sociedad en términos existenciales? Primero, es claro que hoy en día existe una sociedad global: con comunicaciones globales, redes de transporte, sistemas educativos de referencia, tecnologías estandarizadas, instalaciones en franquicia para el consumo, finanzas globales, leyes comerciales y modas mediáticas. Ese estrato de experiencia es extenso, pero aun así es ciertamente delgado; sólo puede reclamar para sí parte del mundo de la vida. Para involucrarse con el arte afectivista, para criticarlo y recrearlo, no sólo tienes que saber dónde emergen nuevos territorios de sensibilidad –en qué localidad, en qué geografía histórica—sino también a qué escala. La existencia en la sociedad mundial se experimenta, o se vuelve estética, como una interacción de escalas calificándose unas a otras.

Suplementando lo global, hay una escala regional o continental basada en la agregación de poblaciones en bloques económicos. Se puede ver claramente en Europa, pero también en Norte y Sudamérica, en el Medio Oriente y en la red del sudeste asiático. No nos equivoquemos, ya hay efectos a esta escala, y movimientos sociales, y nuevas formas de utilizar tanto la gestualidad como el lenguaje, con mucho por venir en el futuro. Luego está la escala nacional, muy conocida, la escala con los conjuntos más enriquecidos de instituciones y los legados históricos más profundos, en los que los teatros de representación masiva están ya abrumadoramente establecidos y hundidos en inercias fantasmáticas. La escala nacional en el siglo XXI está en un estado febril de alerta roja continua, conectados en línea directa con el exceso e incluso a veces capaces de resonar con lo radicalmente nuevo. Luego de esto viene la escala territorial, hace mucho considerada la más humana: la escala de las movilidades cotidianas, la ciudad, el paisaje rural, que son las dimensiones arquetípicas de la sensibilidad. Este es el ámbito de la expresión popular, de las artes pláticas tradicionales, del espacio público y de la naturaleza como una presencia que se constituye con la humanidad: la escala en la que la subjetividad se expande por primera vez para encontrar lo desconocido.

Y así, al final alcanzamos la escala de la intimidad, de la piel, de las palpitaciones compartidas y los sentimientos, la escala que va de las familias y los amantes a las personas que se abrazan en la esquina o que charlan en un sauna o un café. Parecería que la intimidad, en nuestro tiempo, está cabizbaja, limitada con datos y vigilancia y seducción, aplastada con la influencia determinante de todas las demás escalas. Pero la intimidad es aún una fuerza impredecible, un espacio de gestación y por tanto una fuente del gesto, la noria en la que abreva el afecto. Sólo nosotros podemos atravesar todas las escalas, haciéndonos otros por el camino. De la cama del amante al abrazo salvaje de la muchedumbre al tacto ajeno de las redes, podría ser que la intimidad y sus expresiones artísticas sean lo que sorprenderán al siglo XXI.

URL: https://brianholmes.wordpress.com/2010/10/12/manifiesto-afectivista/

Wayback Machine: http://web.archive.org/web/20160826041342/https://brianholmes.wordpress.com/2010/10/12/manifiesto-afectivista/

[[Categoría:Manifiestos]]
[[Categoría:Español]]
[[Categoría:Estados Unidos]]
[[Categoría:2008]]
[[Categoría:Brian Holmes]]

1976 - An Open Letter to Hobbyists - Bill Gates

2017-03-30T19:04:09Z

Eva:

[[Archivo:Bill Gates Letter to Hobbyists.jpg|miniaturadeimagen|derecha]]

An Open Letter to Hobbyists

February 3, 1976

To me, the most critical thing in the hobby market right now is the lack of good software courses, books and software itself.
Without good software and an owner who understands programming, a hobby computer is wasted. Will quality software be written for the hobby market?
Almost a year ago, Paul Allen and myself, expecting the hobby market to expand, hired Monte Davidoff and developed Alkair BASIC.
Though the initial work took only two months, the three of us have spent most of the last year documenting, improving and adding features to BASIC.
Now we have 4K, 8K,

EXTENDED, R3M and DISK BASIC.
The value of the computer time we have used exceeds $40,000.
The feedback we have gotten from the hundreds of people who say they are using BASIC has all been positive. Wo surprising things are apparent, however.

1) Most of these "users" never bought BASIC (less than 10% of all Altair 2::.r,zzs have bought SkSIC), a113

2) The amount of royalties we have received from sales to hobbyists makes the time spent of Altair BASIC worth less than $2 an hour. Why is this? As the majority of hobbyists must be aware, most of you steal your software. Hardware must be paid for, but software is something to share. Who cares if the people who worked on it get paid?

Is this fair? One thing you don't do by stealing software is get back at MITS for some problem you may have had. MITS doesn't make money selling software. The-royalty paid to us, the manual, the tape and the overhead make it a break-even operation. One thing you do do is prevent good software from being written. Who can a ford to do professional work for nothing? What hobbyist can put 3-man years into programming, finding all bugs, documenting his product and distribute for free? The fact is, no one besides us has invested a lot of money in hobby software.

We have written 6800 BASIC, and are wrLting 8080 APL and 6800 APL, but there is very little incentive to make this software available to hobbyists. Most directly, the thing you do
is theft. What about the guys who re-sell Altair BASIC, aren't they making money on hobby software?

Yes, but thosewho have been reported to us may lose in the end. They are the ones who give hobbyists a bad name, and should be kicked out of any club meeting they show up at.
I would appreciate letters from any one who wants to pay up, or has a suggestion or comment.

Just write me at 1180 Alvarado SE, g114, Albuquerque, New Mexico, 87108. Nothing would please me more tan being able to hire ten programmers and deluge the hobby market with good software.

'''PDF:'''
[[Archivo:Bill gates.pdf|sinmarco|izquierda]]

'''URL:''' http://archive.computerhistory.org/resources/access/text/2015/02/102740021-05-12-acc.pdf

'''Wayback Machine:''' http://web.archive.org/web/20160910035946/http://archive.computerhistory.org/resources/access/text/2015/02/102740021-05-12-acc.pdf

'''Wikicommons:''' https://en.wikipedia.org/wiki/Open_Letter_to_Hobbyists#/media/File:Bill_Gates_Letter_to_Hobbyists.jpg

[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Estados Unidos]]
[[Categoría:1976]]
[[Categoría:Bill Gates]]
[[Categoría:Homebrew Computer Club]]

Archivo:Bill gates.pdf

2017-03-30T18:27:45Z

Eva:

2010 - The Open Enterprise Manifesto - BetterMeans

2017-03-30T18:26:22Z

Eva:

[[Archivo:Open enterprise manifesto.jpg|miniaturadeimagen|derecha]]

'''PDF:'''
[[Archivo:Whitepaper.pdf|sinmarco|izquierda]]

'''URL:''' http://www.opencompany.org/resources/whitepaper.pdf

'''Waybackmachine:''' https://web.archive.org/web/20160227012256/http://www.opencompany.org/resources/whitepaper.pdf

[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Estados Unidos]]
[[Categoría:2010]]
[[Categoría:BetterMeans]]

Archivo:Whitepaper.pdf

2017-03-30T18:22:00Z

Eva:

2003 - Headmap Manifesto Redux (3) - Ben Russell

2017-03-21T18:38:29Z

Eva:

[[Archivo:Headmap-1 copia.jpg|miniaturadeimagen|derecha]]

'''Pdf:'''
[[Archivo:Headmap-2.pdf|sinmarco|izquierda]]

'''Web:''' http://technoccult.net/wp-content/uploads/library/headmap.pdf

'''Wayback Machine:'''https://web.archive.org/web/20050401233136/http://www.headmap.org/, https://web.archive.org/web/20130113225752/

[[Categoría:Manifiestos]]
[[Categoría:Ben Russell]]
[[Categoría:Inglés]]
[[Categoría:Reino Unido]]
[[Categoría:2003]]

2003 - Headmap Manifesto Redux (3) - Ben Russell

2017-03-21T18:37:05Z

Eva:

[[Archivo:Headmap-1 copia.jpg|miniaturadeimagen|derecha]]

[[Archivo:Headmap-2.pdf|sinmarco|izquierda]]

'''Wayback Machine:'''https://web.archive.org/web/20050401233136/http://www.headmap.org/, https://web.archive.org/web/20130113225752/http://technoccult.net/wp-content/uploads/library/headmap.pdf

[[Categoría:Manifiestos]]
[[Categoría:Ben Russell]]
[[Categoría:Inglés]]
[[Categoría:Reino Unido]]
[[Categoría:2003]]

Archivo:Headmap-2.pdf

2017-03-21T18:35:01Z

Eva:

Archivo:Headmap-local.pdf

2017-03-21T18:28:43Z

Eva:

1999 - Headmap Manifesto (1) - Ben Russell

2017-03-21T18:22:51Z

Eva:

[[Archivo:Headmap-1 copia.jpg|miniaturadeimagen|derecha]]

here are notes in boxes that are empty every room has an accessible history
every place has emotional attachments you can open and save
you can search for sadness in new york
people within a mile of each other who have never met stop what they are doing and organise spontaneously to help with some task or other.
in a strange town you knock on the door of someone you don’t know and they give you sandwiches.
paths compete to offer themselves to you life flows into inanimate objects
the trees hum advertising jingles
everything in the world, animate and inanimate, abstract and concrete, has thoughts attached

know your place location aware devices:

location aware, networked, mobile devices make possible invisible notes attached to spaces, places, people and things.
the headmap manifesto articulates the social implications of location aware devices.
It manifests a world in which computer games move outside and get subversive.
Sex and even love are easier to find.
Real space can be marked and demarcated invisibly.
..what was once the sole preserve of builders, architects and engineers falls into the hands of everyone: the ability to shape and organise the real world and the real space.
Real borders, boundaries and space become plastic and maleable, statehood becomes fragmented and global..
Geography gets interesting
Cell phones become internet enabled and location aware, everything in the real world gets tracked, tagged, barcoded and mapped.
Overlaying everything is a whole new invisible layer of annotation. Textual, visual and audible information is avail- able as you get close, as context dictates, or when you ask.

new world:

The linking of a location aware device (e.g. something with GPS funtionality), with a handheld computer (e.g. an IPAQ or a handspring) together with a mobile, wireless, internet connection, creates a significant new mass market comput- ing platform which begins to make possible:
• leaving notes, demarcating spaces, and marking places, but leaving no external visible sign of having done so.
• anything left can be made visible to all, or to user specified individuals and groups.
• information (textual, audible or visual) can be bound to specific places.
• an alternative or supplement to permanent visual signi- fiers (e.g. signs, clothing, advertising).
• individuals can utilise new forms of community based on augmented awareness of their proximity to places of interest and each other..
..spontaneous extended community defined by both common interest and proximity.
• tracking the migration and movement patterns of people, animals and things.
• places can have histories ‘attached’ to them (i.e. the collection of notes left at a given place sorted according to when they were left).
• inanimate objects can become more animate (if you know where a tree is and you know when someone is walking past it you could make it burst into song).

location aware devices:

Consumer orientated, mobile, internet connected devices which are location aware (that is capable of determining and transmitting their current geographical location) are becoming available.
Linking some means of location finding, for example a cheap GPS (Global Positioning System), to a handheld computer and adding a wireless network connection creates a completely new computing platform. If you know where you are you can link that location information to other kinds of information....that is you can associate information with places.Using a network you can publish the coordinates of a place with a note attached. That note can then be ‘found’ by another user who visits the same place.
It is a statute in the US that by October 2001 new cell phones have to be able to communicate their geographical coordinates so that this information can be used by the emergency services (extended 911 legislation).Government sponsored location awareness mandates, cell phone triangulation, bluetooth, GPS....even Integrated MicroElectrical Mechanical Systems (IMEMS) techniques which are making possible the fabrication of chips with onboard digital compasses, and, more interestingly, gyroscopes and accelerometers (which means that the kind of inertial naviga- tion systems used to navigate nuclear submarines without break- ing radio silence can be embedded inside your cell phone). Location aware devices.

introduction:

The headmap manifesto is a sequence of text fragments dealing with the social and cultural implications of location aware devices.
Headmap argues a move from the ‘inside’ view that developed after the failure of the space programme, the closure of the fron- tiers, the rise of television, early computing, interiorised simulation and drug culture....towards an ‘outside’ view - a recolonisation of the real world, computers becoming invisible, mobile, networked and location aware, the real world augmented rather than simulated. People finding more outside than inside and developing sophisticated information based relationships to exterior spaces, computer games moving outside, technologies facilitating the tagging and annotating of spaces, places, people, animals and things, the emergence of new forms of spontaneous externalised real social interaction, constructs drawn from dreams and myth shape the outside more tangibly than ever before.New forms of collective, network organised dissent are emerging. Collectively constructive rather than oppositional. Now capableof augmenting, reorganising, and colonising real spaces without altering what is already there or notifying those being colonised. The internet has already started leaking into the real world. Headmap argues that when it gets trully loose the world will be new again.

land and law:
mutating traditional concepts of land, law, politics and ownership mobile, networked, location aware devices

maps[borders and boundaries]:
mapping and social interaction
beyond geographically defined borders and nation states

politics in software [no guarantee]:
politics, community and constitution in software. information, not as a precursor to knowledge but as a tool for controlling and selling [no guarantee that technology will be put to liberatory use]
future architecture [lost space] freeing architecture from the concrete allowing more flexible spatial narratives. recolonising real social space

dreams [does a firm persua- sion of a thing make it so]:
flowing life into inanimate objects
binding dreams to reality
filling space with chimeric informational ‘objects’ hallucination engineering

nature [annotated]:
framing or annotating nature ?
conquering, coexisting with, or resynthesising [nature]

infrastructure [precursor]:
integrating soft space shaping technologies with traditional con- crete space shaping exercises like the freeways
[wireless networking is not as an end in itself but a precursor to augmenting reality and real space]

[space plus information]:
defining community differently
spontaneous community, non-geographical nation states and con- stitutions
double meanings [Howard Hughes hitch hiking] space plus information

dissent:
compromised countercultures
shape
making the shape

so
wanting
wireless castenada

and and law
Soft augmentation, the ability to annotate space using location aware devices, will allow new concepts of land ownership and community and calls into question the geographical basis of power, politics and law.
a magical-legal function
technology gave a shape to america, it defined the pattern of imposition
“He described to me how on holiday with his wife and children he arrived at a popular beach early to find it empty. For no particular reason he used a bucket and spade to build a perimeter of sand castles 6 meters apart and 25 meters in diameter around his chosen spot. Through the course of the day, the beach filled
up and yet no infringement of this unenforcable token boundary occurred.”
THe raiLroaDs, THe sTeeL PLouGH, THe six sHooTer, sTeeL winDmiLLs anD BarBeD wire
The shape of America was defined through the application of technology to logistics, agriculture, force, power and bounding.
“the great plains were only subdued after 1865 with the aid of new technology: the railroads, the steel plough, the six shooter, the barbed-wire fence and modern steel windmills”
This shape is carved into, and still defines, large tracts of the vernacular landscape, there are still railroads, ploughs, guns, and windmills, and there is still barbed wire.

ParceLinG uP LanD inTo recTanGLes
Before barbed wire it was difficult
and expensive to define a perimeter and bound a large tract of land.
From the air Europe and America (both in urban and agricultural areas) are patchworks of rectangular bounded spaces; buildings and land.
recoLonise THe usa iGnorinG oLD sTrucTures [overLaY a new PaTTern]
A new layer of symbolism, a new way of defining ownership and meaning could be overlaid on the old. Invisible on the surface. New paths, new meeting places, new boundaries. New meaning associated with old structures.
Songs and voices and thoughts defining any given space.
“the ‘nomadic war machine’ conquers without being noticed” Hakim Bey
Bums used to ride around the US on freight trains. They supple- mented this logistical network with a symbol system that they could use to communicate useful information to one another. A given symbol scrawle

In san francisco you sometimes see a pair of shoes hanging from the tram wires. They either define territory or meeting places for local gangs.
Kids use graffiti to tag their territory. Parasites on existing infrastructure.
Not removing or replacing what is there, but altering meaning. Redefining new terms, rules, language and symbolism.
Parasites powerful enough to absorb and dominate the old infra- structure without destroying it become colonists and define the hybrid entity.
Squatters in Zimbabwe are taking back land from British farmers, with the de facto support of the government. While the action is technically illegal the government is supporting the squatters and offering the British safe passage out of the country, rather than support.
The UK is now effectively another US state. [airbases, cultural and economic patterns etc.]
“Anytime you colonise anybody they’re gonna eventually colonise you back.” Erica Rosenblum
“At this moment in the evolution of the Web, and considering our demands for the “face-to-face” and the sensual, we must consider
the Web primarily as a support system, capable of carrying information from one Temporary Autono- mous Zone to another, of defending the Tem-
porary Autonomous Zone, rendering it “invisible” or giving it teeth, as the situa- tion might demand. But more than that: If the Temporary Autonomous Zone is
a nomad camp, then the Web helps provide the epics, songs, genealo-
gies and legends of the tribe; it pro- vides the secret caravan routes and
raiding trails which make up the flowlines of tribal economy; it even contains some of the very roads they will follow, some of the very dreams they will experience as signs and portents.” Hakim Bey, Temporary Autonomous Zone

pigeon, creole, slang, cant, argot.
[america effectively decided to open source and modify the Eng- lish Language, it is now a part of one of the most pervasive and powerful operating systems on the planet.]
“The despatialization of post-Industrial society provides some ben- efits (e.g. computer networking) but can also manifest as a form of oppression (homelessness, gentrification, architectural deperson- alization, the erasure of Nature, etc.) The communes of the sixties tried to circumvent these forces but failed. The question of land refuses to go away. How can we separate the concept of space from the mechanisms of control? The territorial gangsters, the Nation/States, have hogged the entire map.” Hakim Bey
narraTive suBservienT To economics anD BruTe force
Narrative has always been subservient to the tangible.

[[Archivo:Headmap-manifesto.pdf|sinmarco|izquierda]]

Wayback Machine:
https://web.archive.org/web/20020731094715/http://www.headmap.org/book/pdf/headmap-manifesto.PDF

https://web.archive.org/web/20020529041418/http://www.headmap.org/book/hm-index.html

[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Reino Unido]]
[[Categoría:1999]]
[[Categoría:Ben Russell]]

Archivo:Headmap-manifesto.pdf

2017-03-21T18:21:26Z

Eva:

1999 - Headmap Manifesto (1) - Ben Russell

2017-03-21T17:48:28Z

Eva: ben russelll 1

[[Archivo:Headmap-1 copia.jpg|miniaturadeimagen|derecha]]

here are notes in boxes that are empty every room has an accessible history
every place has emotional attachments you can open and save
you can search for sadness in new york
people within a mile of each other who have never met stop what they are doing and organise spontaneously to help with some task or other.
in a strange town you knock on the door of someone you don’t know and they give you sandwiches.
paths compete to offer themselves to you life flows into inanimate objects
the trees hum advertising jingles
everything in the world, animate and inanimate, abstract and concrete, has thoughts attached

know your place location aware devices:

location aware, networked, mobile devices make possible invisible notes attached to spaces, places, people and things.
the headmap manifesto articulates the social implications of location aware devices.
It manifests a world in which computer games move outside and get subversive.
Sex and even love are easier to find.
Real space can be marked and demarcated invisibly.
..what was once the sole preserve of builders, architects and engineers falls into the hands of everyone: the ability to shape and organise the real world and the real space.
Real borders, boundaries and space become plastic and maleable, statehood becomes fragmented and global..
Geography gets interesting
Cell phones become internet enabled and location aware, everything in the real world gets tracked, tagged, barcoded and mapped.
Overlaying everything is a whole new invisible layer of annotation. Textual, visual and audible information is avail- able as you get close, as context dictates, or when you ask.

new world:

The linking of a location aware device (e.g. something with GPS funtionality), with a handheld computer (e.g. an IPAQ or a handspring) together with a mobile, wireless, internet connection, creates a significant new mass market comput- ing platform which begins to make possible:
• leaving notes, demarcating spaces, and marking places, but leaving no external visible sign of having done so.
• anything left can be made visible to all, or to user specified individuals and groups.
• information (textual, audible or visual) can be bound to specific places.
• an alternative or supplement to permanent visual signi- fiers (e.g. signs, clothing, advertising).
• individuals can utilise new forms of community based on augmented awareness of their proximity to places of interest and each other..
..spontaneous extended community defined by both common interest and proximity.
• tracking the migration and movement patterns of people, animals and things.
• places can have histories ‘attached’ to them (i.e. the collection of notes left at a given place sorted according to when they were left).
• inanimate objects can become more animate (if you know where a tree is and you know when someone is walking past it you could make it burst into song).

location aware devices:

Consumer orientated, mobile, internet connected devices which are location aware (that is capable of determining and transmitting their current geographical location) are becoming available.
Linking some means of location finding, for example a cheap GPS (Global Positioning System), to a handheld computer and adding a wireless network connection creates a completely new computing platform. If you know where you are you can link that location information to other kinds of information....that is you can associate information with places.Using a network you can publish the coordinates of a place with a note attached. That note can then be ‘found’ by another user who visits the same place.
It is a statute in the US that by October 2001 new cell phones have to be able to communicate their geographical coordinates so that this information can be used by the emergency services (extended 911 legislation).Government sponsored location awareness mandates, cell phone triangulation, bluetooth, GPS....even Integrated MicroElectrical Mechanical Systems (IMEMS) techniques which are making possible the fabrication of chips with onboard digital compasses, and, more interestingly, gyroscopes and accelerometers (which means that the kind of inertial naviga- tion systems used to navigate nuclear submarines without break- ing radio silence can be embedded inside your cell phone). Location aware devices.

introduction:

The headmap manifesto is a sequence of text fragments dealing with the social and cultural implications of location aware devices.
Headmap argues a move from the ‘inside’ view that developed after the failure of the space programme, the closure of the fron- tiers, the rise of television, early computing, interiorised simulation and drug culture....towards an ‘outside’ view - a recolonisation of the real world, computers becoming invisible, mobile, networked and location aware, the real world augmented rather than simulated. People finding more outside than inside and developing sophisticated information based relationships to exterior spaces, computer games moving outside, technologies facilitating the tagging and annotating of spaces, places, people, animals and things, the emergence of new forms of spontaneous externalised real social interaction, constructs drawn from dreams and myth shape the outside more tangibly than ever before.New forms of collective, network organised dissent are emerging. Collectively constructive rather than oppositional. Now capableof augmenting, reorganising, and colonising real spaces without altering what is already there or notifying those being colonised. The internet has already started leaking into the real world. Headmap argues that when it gets trully loose the world will be new again.

land and law:
mutating traditional concepts of land, law, politics and ownership mobile, networked, location aware devices

maps[borders and boundaries]:
mapping and social interaction
beyond geographically defined borders and nation states

politics in software [no guarantee]:
politics, community and constitution in software. information, not as a precursor to knowledge but as a tool for controlling and selling [no guarantee that technology will be put to liberatory use]
future architecture [lost space] freeing architecture from the concrete allowing more flexible spatial narratives. recolonising real social space

dreams [does a firm persua- sion of a thing make it so]:
flowing life into inanimate objects
binding dreams to reality
filling space with chimeric informational ‘objects’ hallucination engineering

nature [annotated]:
framing or annotating nature ?
conquering, coexisting with, or resynthesising [nature]

infrastructure [precursor]:
integrating soft space shaping technologies with traditional con- crete space shaping exercises like the freeways
[wireless networking is not as an end in itself but a precursor to augmenting reality and real space]

[space plus information]:
defining community differently
spontaneous community, non-geographical nation states and con- stitutions
double meanings [Howard Hughes hitch hiking] space plus information

dissent:
compromised countercultures
shape
making the shape

so
wanting
wireless castenada

and and law
Soft augmentation, the ability to annotate space using location aware devices, will allow new concepts of land ownership and community and calls into question the geographical basis of power, politics and law.
a magical-legal function
technology gave a shape to america, it defined the pattern of imposition
“He described to me how on holiday with his wife and children he arrived at a popular beach early to find it empty. For no particular reason he used a bucket and spade to build a perimeter of sand castles 6 meters apart and 25 meters in diameter around his chosen spot. Through the course of the day, the beach filled
up and yet no infringement of this unenforcable token boundary occurred.”
THe raiLroaDs, THe sTeeL PLouGH, THe six sHooTer, sTeeL winDmiLLs anD BarBeD wire
The shape of America was defined through the application of technology to logistics, agriculture, force, power and bounding.
“the great plains were only subdued after 1865 with the aid of new technology: the railroads, the steel plough, the six shooter, the barbed-wire fence and modern steel windmills”
This shape is carved into, and still defines, large tracts of the vernacular landscape, there are still railroads, ploughs, guns, and windmills, and there is still barbed wire.

ParceLinG uP LanD inTo recTanGLes
Before barbed wire it was difficult
and expensive to define a perimeter and bound a large tract of land.
From the air Europe and America (both in urban and agricultural areas) are patchworks of rectangular bounded spaces; buildings and land.
recoLonise THe usa iGnorinG oLD sTrucTures [overLaY a new PaTTern]
A new layer of symbolism, a new way of defining ownership and meaning could be overlaid on the old. Invisible on the surface. New paths, new meeting places, new boundaries. New meaning associated with old structures.
Songs and voices and thoughts defining any given space.
“the ‘nomadic war machine’ conquers without being noticed” Hakim Bey
Bums used to ride around the US on freight trains. They supple- mented this logistical network with a symbol system that they could use to communicate useful information to one another. A given symbol scrawle

In san francisco you sometimes see a pair of shoes hanging from the tram wires. They either define territory or meeting places for local gangs.
Kids use graffiti to tag their territory. Parasites on existing infrastructure.
Not removing or replacing what is there, but altering meaning. Redefining new terms, rules, language and symbolism.
Parasites powerful enough to absorb and dominate the old infra- structure without destroying it become colonists and define the hybrid entity.
Squatters in Zimbabwe are taking back land from British farmers, with the de facto support of the government. While the action is technically illegal the government is supporting the squatters and offering the British safe passage out of the country, rather than support.
The UK is now effectively another US state. [airbases, cultural and economic patterns etc.]
“Anytime you colonise anybody they’re gonna eventually colonise you back.” Erica Rosenblum
“At this moment in the evolution of the Web, and considering our demands for the “face-to-face” and the sensual, we must consider
the Web primarily as a support system, capable of carrying information from one Temporary Autono- mous Zone to another, of defending the Tem-
porary Autonomous Zone, rendering it “invisible” or giving it teeth, as the situa- tion might demand. But more than that: If the Temporary Autonomous Zone is
a nomad camp, then the Web helps provide the epics, songs, genealo-
gies and legends of the tribe; it pro- vides the secret caravan routes and
raiding trails which make up the flowlines of tribal economy; it even contains some of the very roads they will follow, some of the very dreams they will experience as signs and portents.” Hakim Bey, Temporary Autonomous Zone

pigeon, creole, slang, cant, argot.
[america effectively decided to open source and modify the Eng- lish Language, it is now a part of one of the most pervasive and powerful operating systems on the planet.]
“The despatialization of post-Industrial society provides some ben- efits (e.g. computer networking) but can also manifest as a form of oppression (homelessness, gentrification, architectural deperson- alization, the erasure of Nature, etc.) The communes of the sixties tried to circumvent these forces but failed. The question of land refuses to go away. How can we separate the concept of space from the mechanisms of control? The territorial gangsters, the Nation/States, have hogged the entire map.” Hakim Bey
narraTive suBservienT To economics anD BruTe force
Narrative has always been subservient to the tangible.

Wayback Machine:
https://web.archive.org/web/20020731094715/http://www.headmap.org/book/pdf/headmap-manifesto.PDF

https://web.archive.org/web/20020529041418/http://www.headmap.org/book/hm-index.html

[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Reino Unido]]
[[Categoría:1999]]
[[Categoría:Ben Russell]]

Archivo:Open gov.png

2017-03-13T01:01:01Z

Eva: Eva subió una nueva versión de Archivo:Open gov.png

Archivo:Open gov.png

2017-03-13T00:54:55Z

Eva:

2008 - The Berlin Manifesto Future of Typo3 - TYPO3 Core team

2017-03-13T00:15:03Z

Eva: typo3

[[Archivo:Typo3.png|miniaturadeimagen|derecha]]

Enlace: https://typo3.org/about/the-history-of-typo3/berlin-manifesto/

Wayback Machine: https://web.archive.org/save/https://typo3.org/about/the-history-of-typo3/berlin-manifesto/

[[Categoría:Manifiestos]]
[[Categoría:Inglés]]
[[Categoría:Alemania]]
[[Categoría:2008]]
[[Categoría:Typo3]]

1988-1992 - Manifiesto criptoanarquista - Timothy C. May

2017-03-13T00:14:02Z

Eva: the crypto anarchist manifesto

[[Archivo:The crypto anarchist.png|miniaturadeimagen|derecha]]
'''Timothy C.May(1988). ''The Crypto Anarchist Manifesto'''''

Enlace:http://activism.net/cypherpunk/crypto-anarchy.html

Wayback Machine:https://web.archive.org/web/*/http://activism.net/cypherpunk/crypto-anarchy.html

[[Categoría:Manifiestos]]
[[Categoría:Timothy C.May]]
[[Categoría:Inglés]]
[[Categoría:EE.UU]]
[[Categoría:1998]]

1995 - Unabomber Manifesto / Industrial Society and Its Future - Theodore Kaczynski

2017-03-13T00:12:04Z

Eva: unabomber manifesto

[[Archivo:The una bomber.png|miniaturadeimagen|derecha]]

'''URL:''' http://editions-hache.com/essais/pdf/kaczynski2.pdf#

'''Wayback Machine:''' https://web.archive.org/web/*/http://editions-hache.com/essais/pdf/kaczynski2.pdf#

[[Categoría:Biblioteca]]
[[Categoría:Manifiestos]]
[[Categoría:Theodore Kaczynski]]
[[Categoría:Unabomber]]
[[Categoría:Inglés]]
[[Categoría:Estados Unidos]]
[[Categoría:1995]]

Archivo:The una bomber.png

2017-03-13T00:11:27Z

Eva: Eva subió una nueva versión de Archivo:The una bomber.png

1995 - Unabomber Manifesto / Industrial Society and Its Future - Theodore Kaczynski

2017-03-13T00:10:18Z

Eva: unabomber manifesto

[[Archivo:The una bomber.png|miniaturadeimagen|derecha]]
'''URL:''' http://editions-hache.com/essais/pdf/kaczynski2.pdf#

'''Wayback Machine:''' https://web.archive.org/web/*/http://editions-hache.com/essais/pdf/kaczynski2.pdf#

[[Categoría:Biblioteca]]
[[Categoría:Manifiestos]]
[[Categoría:Theodore Kaczynski]]
[[Categoría:Unabomber]]
[[Categoría:Inglés]]
[[Categoría:Estados Unidos]]
[[Categoría:1995]]

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2017-03-12T23:59:44Z

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