Speakers: Birgitta Jónsdóttir, Andy Müller Maguhn, John Goetz, Diani Barreto, Tatiana Bazzichelli.
Sun 5 May, 2013, 17:00 Urban Spree Gallery, Revaler Straße 99, 10245 Berlin.
As part of the reSource transmedial culture /transmediale festival year-round programme curated by Tatiana Bazzichelli
On April 5, 2010, the Internet leak website WikiLeaks, published a video titled Collateral Murder, where a United States Apache helicopter fired on civilians in New Baghdad in 2007. The video shows American military personnel shooting and killing 11 individuals whose cameras were ostensibly mistaken for weapons. Two children were also gravely wounded on the scene. Two of those people killed were war correspondents for Reuters, the 22-year-old Reuters’ photojournalist Namir Noor-Eldeen and his driver, 40-year-old Saeed Chmagh.
After demands by Reuters, the incident was investigated and the U.S. military concluded that the actions of the soldiers were in accordance with the law of armed conflict and its own “Rules of Engagement”. Birgitta Jónsdóttir, MP in Iceland, co-produced the video in 2010 with encrypted footage that had been leaked to WikiLeaks by an unnamed source, now revealed as Pfc. Bradley Manning.
In May 2010, the 22-year-old American Army intelligence analyst Bradley Manning was arrested after telling Adrian Lamo, a hacker in the US, that he had leaked the airstrike video, along with a video of another airstrike and around 260.000 diplomatic cables, to WikiLeaks. Manning has been held in detention by the US military ever since. He has already pleaded guilty on 10 counts that could subject him to 20 years under multiple violations of the Espionage Act of 1917 and of “aiding the enemy”.
In this highly polarizing case, lawyers, civil rights organizations and journalists are insisting that Bradley Manning had disclosed the information under the aegis of his 1st Amendment Rights, which protects Freedom of Speech. In light of the charges he faces, any leak of classified information to any media organization could potentially be interpreted as an act of treason.
This event affords the distinguished guests the opportunity to re-visit the making of the Collateral Murder video three years on, to discuss the “United States v. Bradley Manning” trial on June 3rd, 2013, which has been hailed “the most important National Security trial in the history of the US” (NYT Pentagon Papers counsel James C. Goodale) and how it has engendered a pattern of intimidation to threaten and silence whistleblowers, cyberactivists, journalists and news organizations such as Wikileaks, and the implications concerning the future of political agency, free speech, freedom of information and the sanctity of the Press.
In this context, the speakers also discuss the reprisals and political ethics in the cases of information disclosure and judicial overreach brought against hackers such as Jeremy Hammond, Barrett Brown, and the tragic surmise of Aaron Swartz. The speakers furthermore evaluate the groundwork of new initiatives for civil society platforms intended to monitor, lobby and support legislation that strengthen freedom of information as well as providing protections for sources and whistleblowers in the rapidly accelerating complexities of the information age.
This event (reSource 005) is organised by the reSource transmedial culture berlin of the transmediale festival in partnership with re:publica. The event is co-curated with Diani Barreto.
With the kind support of the www.freebradleymanning.net initiative Berlin
International Research Conference and PhD Workshop
Leuphana University of Lüneburg, Germany
22-24 November 2012
In the context of developing a platform for knowledge exchange and research across the arts and sciences, the reSource transmedial culture berlin/transmediale festival has established a partnership with the Centre for Digital Cultures, Leuphana University of Lüneburg and the Digital Aesthetics/Participatory IT Research Centre, Aarhus University to foster new forms of collaborative research, peer-review, publication and performative knowledge dissemination.
The international research conference and PhD workshop takes next transmediale’s thematic framework (BWPWAP, Back When Pluto Was a Planet) as a broad starting point, and is a chance for researchers to share ideas and development processes across and beyond the time/space of academic research paradigms. The conference and workshop asks how BWPWAP can be interpreted in the context of research culture that has been significantly destabilised by network culture and digital media.
Around 20 international PhD students have been selected after submitting their research abstracts via a public call. Students and researchers will meet at the Luphana University to present their activities and reflect on further networked research practices, which will culminate into the publication of a P2P reviewed newspaper presented in the framework of transmediale 2013.
The event follows on from similar events organised in 2012 and 2011 at Universität der Künste (Berlin), and Aarhus University, respectively. For the publication resulting from the last events, visit the following.
Digital Aesthetics/Participatory IT Research Centre, Aarhus University
reSource transmedial culture berlin/transmediale festival
Centre for Digital Cultures, Leuphana University of Lüneburg
Read more about programme and contents:
Since April 2012 I became a Postdoc researcher at the Leuphana University of Lüneburg, as part of the Innovation Incubator /Centre for Digital Cultures (Art and Civic Media KT). In July 2012 my contract extended to the Institute for Culture and Aesthetic Digital Media, Faculty of Cultural Studies, where I have been working within the research framework and practice-based project “transmedial culture”, as a collaboration between Leuphana University of Lüneburg and transmediale festival.
My research projects are the following:
Associated to: “Art and Civic Media” Inkubator KT, Center for Digital Cultures
This project is a further development of Tatiana Bazzichelli’s PhD research: Networked Disruption: Rethinking Oppositions in Art, Hacktivism and the Business of Social Networking (2008-2011). It is based on the practice of networking as a research method used to investigate new models of production of art and culture explored by artists, hacktivists and grassroots communities.
Its objective: To investigate how collaborative practices among communities of artists, activists and hackers engaging with participatory technologies and networks contribute to shape new courses of action, tools and contents within (and beyond) digital culture production.
(1) To compare new modalities of art production developed by artists and activists after the emergence of social media, reflecting on distributive, iterative and socially-engaged models of participation and innovation;
(2) To apply the concept of disruptive innovation to the art field so as to open up a critical perspective on the “network economy” trying to understand how the market works after de-assembling its strategies and mechanisms of production;
(3) To rethink the concepts of (social) networking, collaborative practices, innovation and participation adopting an ethnographic approach by mapping the activities of communities locally, regionally and internationally.
(1) To analyse the concept of transmedial culture, investigating creative approaches across digital and analogue media, reflecting on the intersections between cultural production, networking and disruptive art practices;
(2) To reflect on the strategies of networked art and hacktivism, by developing an empirical methodology based on mutual exchanges between the members of the (post-) media art scene, cultural producers and researchers in the field of the humanities;
(3) To form practice-oriented contexts of reflection and give feedback to both theory and practice through an interdisciplinary, distributed curatorial approach.
Outcomes: To organise public events with the aim to facilitate exchange between academic and non-academic spheres of knowledge production. The outcome of these activities will be disseminated through publications with an emphasis on new types of distribution as well as on new audiovisual and performative forms.