#tiziana terranova

[oo111111]

Excerpt from Tiziana Terranova's After the Internet. Digital Networks between Capital and the Common.

[fundgruber]

There is a constitutive tension between the network (a diagram composed of nodes and links), the individual (the concept of the autonomous, rational subject) and the dividual (its datafied digital shadow) in that strange phenomenon called “social production” or “social cooperation,” which both liberal and Marxist theories identify as a key source of the production of value in contemporary societies.

Tiziana Terranova, A Neomonadology of Social (Memory) Production, In: Memory in Motion Archives, Technology, and the Social Herausgegeben von: Ina Blom , Trond Lundemo und Eivind Røssaak, 2016, S. 288

[siciliatv]

Si è concluso al Villaggio Mosè ad Agrigento l’VIII Capitolo Elettivo dell’Ordine Francescano Secolare (OFS) di Sicilia, un evento di profonda rilevanza spirituale e organizzativa che ha visto il rinnovo delle cariche regionali e ha costituito un’occasione per rafforzare la missione e l’identità dell’OFS nella società. L’incontro è stato presieduto dal Ministro Nazionale OFS Italia, Luca Piras, con la presenza della Viceministra Sara Mentzel e di fra Giuseppe Carta ofm, assistente nazionale OFS. Hanno partecipato i ministri provinciali fra Nino Catalfamo dei Frati Minori, fra Pietro Giarracca dei Frati Minori Cappuccini, fra Gaspare La Barbera dei Frati Minori Conventuali e fra Calogero Favata dei Frati Francescani del Terzo Ordine Regolare. Presente anche Suor Giusi Di Dio, madre superiora generale delle Suore Francescane dell’Immacolata di Lourdes.   Il Capitolo ha vissuto intensi momenti di preghiera, guidati, nelle sue varie articolazioni, da S.E. fra Calogero Peri, vescovo di Caltagirone; don Giuseppe Cumbo, vicario generale dell’Arcidiocesi di Agrigento; e fra Giuseppe Carta, i quali hanno accompagnato i partecipanti in un cammino spirituale verso il discernimento e la condivisione.   La giornata di sabato è stata caratterizzata da un dibattito ampio e costruttivo, aperto dalla lettura delle relazioni del Ministro, dell’Economo, degli assistenti spirituali e della referente della Gifra. Carmelo Vitello, Ministro Regionale uscente, ha parlato con passione della vocazione francescana alla lettura dei “segni dei tempi” e della necessità di una presenza che costruisca legami autentici e umani. «La Chiesa e la nostra vocazione ci chiamano a scrutare l’orizzonte», ha dichiarato Vitello, «con occhi aperti alla realtà e alla missione dell’OFS nella società di oggi».   Il pomeriggio ha visto il coinvolgimento attivo dei partecipanti che, in un clima di fraternità, hanno avanzato proposte e condiviso idee per riscoprire “la bellezza della Sicilia” – espressione usata dal Ministro Nazionale Piras. Questo spirito di fraternità ha permesso un confronto profondo e aperto, riconoscendo il valore del lavoro svolto dal Consiglio uscente e delineando prospettive per il futuro.   La domenica mattina è stata dedicata alla fase elettiva. Carmelo Vitello è stato confermato Ministro Regionale dell’OFS Sicilia, mentre Tiziana Frigione della fraternità di Messina è stata eletta nuova viceministra, subentrando a Claudia Pecoraro, ora Consigliera Nazionale e segretaria. Il nuovo Consiglio Regionale comprende: Giovanni Mocciaro (Gangi), Giuseppe Pulvirenti (Carrubba), Rosario Allegra (Palermo), Paolo Capodici (Palermo), Maria Loiacono (Paternò), Giuseppe Di Grande e Giovanna Alicata (Augusta), Vito Terranova (Salemi), Giorgia Scelsa e Pietro Di Garbo (Termini Imerese), Umberto Virgadaula (Vittoria).   A conclusione del Capitolo, S.E. Alessandro Damiano, arcivescovo di Agrigento, ha presieduto la Celebrazione Eucaristica, rivolgendo un appassionato invito ai nuovi eletti: essere una “linfa nuova” all’interno della Chiesa. L’arcivescovo, facendo riferimento al Vangelo del cieco Bartimeo, ha sottolineato la necessità di recuperare la capacità di “vedere” e rispondere ai bisogni del prossimo, ricordando l’importanza di nutrire le relazioni e rafforzare i legami comunitari e con Dio, in sintonia con il recente documento finale della seconda sessione del Sinodo dei Vescovi.   Il Capitolo dell’OFS di Sicilia ad Agrigento ha rappresentato un momento di profondo rinnovamento e comunione, una tappa fondamentale per confermare l’impegno francescano al servizio della Chiesa e della società. I nuovi eletti avranno ora il compito di tradurre in azioni concrete lo spirito di fraternità e le visioni emerse, mantenendo vivo il dialogo tra cielo e terra che caratterizza la vocazione francescana. Read the full article

[spectralarchers]

Oh, oh, oh, Henry Jenkins is AWESOME! Check out "Pop Cosmopolitanism: Mapping Cultural Flows in an Age of Media Convergence" (from 2006) as well, where he explains the difference between CORPORATE convergence and GRASSROOTS convergence:

"Corporate convergence – the concentration of media ownership in the hands of a smaller and smaller number of multinational conglomerates who thus have a vested interest in insuring the flow of media content across different platforms and national borders. Grassroots convergence – the increasingly central roles that digitally empowered consumers play in shaping the production, distribution, and reception of media content."

But also!!! good fandom academia texts!

Judith Butler: "Implicit Censorship and Discursive Agency" (1997)

and!

Abigail de Kosnik, "Fandom as Free Labor" (2012):

"Online fan productions constitue unauthorized marketing for a wide variety of commodities – almost every kind of product has attracted a fandom os some kind." ... "Fans are eager to praise what is right about an object, point out what is wrong, and propose solutions and new directions for the development of that object because they think that fandom is what completes and perfects the object." ... Media fans, Jenkins observes, write fan fiction and fan commentary, and make art and music and videos, as a way to create their version of a text, the text as they would like it to be, the text that serves their needs best. From Jenkins, we learn that fan labor is often the work of customization, the making of mass-produced things into things that serve individuals' particular and peculiar desires and wishes."

(and Tiziana Terranova's "Free Labor" from 2000 which de Kosnik's text is based on:

"[Free Labor is] this excessive activity that makes the internet a thriving and hyperactive medium, [...] a feature of the cultural economy at large and an important, yet unacknowledged, source of value in advanced capitalist societies")

and!

Matt Hills, "Proper Distance' in the Ethical Positioning of Scholar-Fandoms: Between Academics' and Fans' Moral Economies" (2012)

and!

Christian Fuchs, "Social Media and Capitalism" (2013):

"Corporate social media are not a realm of user/prosumer participation, but a realm of Internet prosumer commodification and exploitation. The exploitation of Internet prosumer labour is one of the many tendencies of contemporary capitalism. It is characteristic for a phase of capitalist development, in which the boundaries between play/labour and private/public become blurred."

and!

Melanie Kohnen, "The Power of Geek: Fandom as a Gendered Commodity at Comic-Con" (2014)

and!

Lev Manovich: "The Practice of Everyday (Media) Life: From MassConsumption to Mass Cultural Production" (2009):

"The explosion of user-created media content on the web (dating from say, 2005) has unleashed a new media universe. (Other terms often used to refer to this phenomenon include social media and user-generated content). ... Manovich also says that Web 2.0 has triggered "a fundamental shift in modern media culture" ... "The developments of the previous decade [...] led to the explosion of user-generated content available in digital form: web sites, blogs, forum discussions, short messages, digital photos, video, music, maps, and so on." ... "Since the companies that create social media platforms make money from having as many users as possible visit them [...], they have a direct interest in having users pour as much of their lives into these platforms as possible." ... "[Conversations between users and fans] play increasingly important roles in shaping professionally produced media. Game producers, musicians, and film companies try to react to what fans say about their products, implement fans' wishes and even shape story lines in response to conversation among cultural consumers.

and!

Suzanne Scott "Who's Steering the Mothersip? The Role of the Fanboy Auteur in Transmedia Storytelling" (2013):

"Defined by Henry Jenkins (2007) as "a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience," transmedia storytelling has been celebrated by media scholars as a narrative model that promotes collaborative authorship and participatory spectatorship. […] Transmedia stories are defined by their ability to expand: they expand and enrich a fictional universe, they expand across media platforms, and they empower an expansive fan base by promoting collective intelligence as a consumption strategy"

anyways fandom academia is <3333 y'all

💥🙌👏

[maddalenafragnito]

ART FOR RADICAL ECOLOGIES MANIFESTO | book launch & panel

At GATHERING INTO THE MAELSTROM | Sale Docks 19 april 2024

Panel with contributors: Françoise Vergès, Manuel Borja Villel, Ashley Dawson, Oliver Ressler, Raluca Voinea, Ovidiu Tichindeleanu, Francesco Martone, Andreco, Maddalena Fragnito, Federica Timeto,, Emanuele Braga, Marco Baravalle.

The book Art for Radical Ecologies (manifesto) (forthcoming bruno, Venice 2024)  is the second volume of the IRI Series whose aim is to produce knowledge in common and around commoning situated at the intersection between art, pedagogy and activism for a transition towards post capitalism.

The Art For Radical Ecologies Manifesto was co-written in a series of assemblies between 2021-2022. Art is a powerful tool for imagining different types of ecological relationships beyond the anthropocentric paradigm. At the same time though, our manifesto states the importance of positioning ourselves as art workers within the struggle for climate justice, starting by refusing the use of art as greenwashing and the sponsorship of oil and fossil fuels companies. Our manifesto tries to look beyond the current neoliberal regime of the arts, with its ties to class, gender, race and species forms of oppression. The book features the voice of artists, museum directors, scholars and activists who address the link between art and ecology from different perspectives: class, decoloniality, transfeminism and antispecism.

Contributors: Léna Balaud , Marco Baravalle, Mike Bonanno The Yes Men, Manolo Borja-Villel, Emanuele Braga, Andrea Conte Andreco, Ashley Dawson, Isa Fremeaux & Jay Jordan: The Laboratory of Insurrectionary Imagination, Oliver Ressler, Francoise Vergès in conversation with Maddalena Fragnito and Marco Baravalle, Tiziana Terranova, Federica Timeto, Ovidiu Țichindeleanu & Raluca Voinea, Rosa Jijon & Francesco Martone in converstaion with Boloh Miranda, Anamaria Garzón, Sofía Acosta Varea.

Edited by: Marco Baravalle, Emanuele Braga, Gabriella Riccio, Federica Timeto (Institute of Radical Imagination)

with the support of FfAI Foundation for Arts Initiatives & L’internationale online

The book is published by bruno

To purchase the publication please contact bruno, Venice

[hikikomoridrumlab]

"I would suggest that these speculative technologies might function as a critique of binary or digital systems, which function by dividing the world into quantifiable pieces. Zeno’s paradox of motion is therefore also the paradox of computation, that things exist beyond our delimitation of the world into phenomenologically knowable objects, and that while mathematics and by extension computation function despite these contradictions there nonetheless exists a Beyond that is illegible, or that we fail to recognize. In seeking alternatives to ways of knowing that are mediated by computing technology, it is my hope that we might identify an alternate logic of illegibility that might be opened up to produce a critique of new media objects. In choosing this, perhaps the earliest moment at which such an inquiry is made possible, it seems meaningful that such questions are being posed by two queer men who met only briefly and, perhaps appropriately, were unable to come to an agreement, or even understand the questions the other sought to answer. While it is no doubt true that queerness is not the only means by which we might ask these questions of technology, or through which we might seek an alternative to the universalizing structures of new media technologies, it is my suggestion that queerness is the ideal lens through which to examine a negativity that exists outside of or beyond – one that begins with two queer men in the earliest moments in the history of computation."

[personal-reporter]

Ju Buk Festlval 2023 a Scanno

Gli effetti socio-economici del periodo 2020 - 22, la guerra, la rivoluzione delle donne in Iran, la rotta migratoria balcanica e quella mediterranea sono il cuore della terza edizione del Festival letterario tutto al femminile Ju Buk, che nel gergo locale sta a indicare la bisaccia del pastore transumante,  diretto dalla sociologa e giornalista Eleonora de Nardis Giansante, che si terrà dal 28 al 30 luglio a Scanno, antico borgo nel Parco nazionale d’Abruzzo, molto amato dai fotografi Cartier Bresson e Giacomelli, sotto gli alti patrocinii del MiC e della Regione Abruzzo. Il festival è dedicato alle donne che trasmettono i fili della Memoria e in grado di capovolgere stereotipi e scrivere nuove grammatiche di rapporti tra generi. Aprirà la giornata dedicata alla narrativa l'esordiente abruzzese Kristine Maria Rapino con Fichi di marzo (Sperling&Kupfer) che racconta  le vicende di una famiglia di pastai della Majella, seguita dalla scrittrice siciliana che vive tra Roma e Parigi Anna Giurickovic Dato con Il grande me (Fazi). La seconda giornata, per le saggistica, vedrà sul palco la giornalista Tiziana Ciavardini con il suo lavoro Ti racconto l’Iran. I miei anni in terra di Persia (Armando) e l’economista femminista Azzurra Rinaldi, direttrice della School of Gender Economics di Unitelma Sapienza, con Le signore non parlano di soldi (Fabbri) poi interverranno donne da molti paesi che raccontano di terre diverse. La terza giornata avrà come protagoniste la giallista Piera Carlomagno con Il taglio freddo della luna (Solferino) e l’afropartenopea Djarah Khan con  l’acclamato Ladri di denti (People). Nel segno della staffetta generazionale tornerà  il premio Ju Buk Opera Prima, affidato alla direzione artistica di Valeria Gargiullo, enfant prodige di Salani e vincitrice dell'ultimo Premio John Fante. Madrina dell’evento sarà l’attrice Valentina Melis, attivista per i diritti civili e le pari opportunità e testimonial dell’associazione Differenza Donna, mentre durante le presentazioni sarà possibile ammirare le opere dell’artista abruzzese Giusi Michini, sculture contemporanee create in esclusiva, traendo ispirazione dai temi portanti di Ju Buk. Nelle scorse edizioni il festival aveva ospitato grandi firme della letteratura italiana, da Nadia Terranova a Valeria Parrella a Donatella Di Pietrantonio ed ora torna con i suoi tre giorni di libri e cultura di genere, per lasciare anche stavolta un segno rilevante nel panorama dei festival letterari estivi. Read the full article

[domascaini]

Blog 11 - COM 311

Before the world became a technological domination

This reading is about the introduction to Tiziana Terranova's "After the Internet" (MIT Press 2023) demonstrates an excellent way to gain a more contemporary perspective on the Internet's overall evolution, on how the Internet changed century by century.

The article examines the 2010s as the decade that significantly changed the development of the Internet and enabled it to become a tool for many aspects of daily life, including communication and connection. Social media websites like Facebook, Instagram, and Amazon got their start during this time. Terranova also discusses the privatization of the Internet, specifically how it currently functions as a collection of privately-owned platforms, most of which are managed by big tech companies. Throughout the essay, the term "Corporate Platform Complex" (CPC) is mentioned, especially during the pandemic years of 2020 and Covid-19. There was a massive increase in online business, and the rise of the CPC became a big deal because, since the lockdown began, people were not allowed to leave their houses. So, companies got creative and managed their business differently. Many clothing brands opened online platforms to make shopping easy and still run their business. Food deliveries were also created to make it easy to deliver groceries to people by those who owned the business

The 2020 Covid-19 Pandemic and Platforms

At the beginning of the pandemic, the education system went into a crisis on how to continue education. Therefore, all schools had to adopt a new online system to make it possible for students to learn from home. Consequently, many companies that form the Corporate Platform Complex (CPC) created various platforms that were accessible to everyone.

The lockdown helped big tech companies economically because it increased their product sales very rapidly, especially computers, which were necessary for online education to take place.

Regarding from pandemic boom of CPC, it is not already in development way before the pandemic too. The lockdown was the last push that, made the CPC needed to fully dominate the world.

Reflection:

In these four months of this course, I have learned a lot about the world of technology and communication in general. The materials we have read and seen have helped me deepen my understanding of the topics. I gained a more in-depth understanding of the emergence of the Internet and its purpose. Before this course, I was not aware of the development of Web 1.0 and 2.0. I have also learned that the internet is a dangerous place, regardless of age, because our data can be stored and used without our knowledge or consent. I realized that this generation cannot imagine living without technology because it has become an integral part of our lives.

[desmondhwong]

Tiziana Terranova is a contemporary theorist whose work focuses on the cultural and political implications of digital media and net art. One of her key concepts is that of "free labor," which refers to the unpaid or underpaid work that individuals engage in through their participation in social media and other digital platforms.

According to Terranova, free labor is often framed as a form of leisure or leisure activity, rather than work, and is often seen as a way for individuals to express their creativity and connect with others. However, she argues that free labor is actually a form of exploitation, as the value created through this work is often captured by corporations and other organizations.

In the context of AI art, the use of original artist work to train image models could potentially be seen as a form of free labor, as the value created by the artist is appropriated and used to train the AI without proper compensation. Terranova's concept of free labor highlights the need to consider the power dynamics and exploitation inherent in such practices.

[if-you-fan-a-fire]

BOOKS I READ IN 2022 Mostly academic books I read for research purposes or to expand my knowledge of a topic, though this year was much more scattershot then 2021 in terms of topic, and I read a lot less. Indeed, this year, while there was a lot of books I loved and luxuriated in, or am proud I finished, there were a bunch of very frustrating or not particularly appealing academic works I almost regret reading, such as the Cavel & Noakes volume! Also, far more fiction - I somehow read sections from almost every volume of Christopher Tolkien's History of Middle Earth series. Generally, I read the majority of the book - monographs or collections where I read a single chapter or introduction aren’t included. I also included a few of the best or most interesting articles I read, though there are dozens and dozens more. Books marked with a cross are ones I particularly recommend. The first two entries are books I started reading in 2021 and the last three I’m still reading!

FIRST ROW:

Anne Guérin, Prisonniers en révolte: Quotidien carcéral, mutineries et politique pénitentiaire en France, 1970-1980  +

Larry Wolff, Venice and the Slavs: The Discovery of Dalmatia in the Age of Enlightenment

Murar Ergin, 'Is The Turk A White Man?': Race and Modernity in the Making of Turkish Identity

Douglas Hamilton and John McAleer, ed., Islands and the British Empire in the Age of Sail

Allain Millard, Communaute Des Egaux: Le Communisme Neo-Babouviste Dans La France Des Annees 1840 +

SECOND ROW:

Blaise Cendrars, L'Homme foudroyé

Victor Serge, Notebooks, 1934-1947 +

Peter Cole, Ben Fletcher: The Life and Times of a Black Wobbly +

John Deak, Forging a Multinational State: State-Making in Imperial Austria from the Enlightenment to the First World War

Brock Millman, ed., Polarity, Patriotism, and Dissent in Great War Canada, 1914–1919

THIRD ROW:

Elinor Barr, Silver Islet: Striking It Rich in Lake Superior

Gerry Boyce, Eldorado: Ontario's First Gold Rush

Nancy B. Bouchier & Ken Cruikshank, The People and the Bay: A Social and Environmental History of Hamilton Harbour

Franca Iacovetta, Roberto Perin & Angelo Principe, ed., Enemies Within: Italian and Other Internees in Canada and Abroad

Janice Cavell & Jeff Noakes, Acts of Occupation: Canada and Arctic Sovereignty, 1918-25

FOURTH ROW:

Élisabeth Vonarburg, The Maerlande Chronicles

J. R. R. Tolkien & Christopher Tolkien, Morgoth's Ring (and bits and pieces of the rest of the History of Middle Earth series)

Elizabeth Hand, Winterlight

Jonathan Haslam, The Spectre of War: International Communism and the Origins of World War II +

William Clare Roberts, Marx's Inferno: The Political Theory of Capital +

FIFTH ROW:

Ruth Bleasdale, Rough Work: Labourers on the Public Works of British North America and Canada, 1841-1882  +

Dale Gibson, Law, Life, and Government at Red River, Volume 1: Settlement and Governance, 1812-1872

Fabrice Grenard, Une légende du maquis: George Guingouin, du mythe à l'histoire

Jesper Vaczy Kragh, Lobotomy Nation: The History of Psychosurgery and Psychiatry in Denmark

Serge Chakotin, The Rape of the Masses: The Psychology of Totalitarian Political Propaganda (1940)

Select articles I read:

Matthew Pehl, “Between the Market and the State: The Problem of Prison Labor in the New Deal,”

Ernest Allen, “Waiting for Tojo: The Pro-Japan Vigil of Black Missourians, 1932-1943.”

Sarah Carter, “Two Acres and a Cow: 'Peasant’ Farming for the Indians of the Northwest, 1889-97.”

David Thompson, “Convalescent Comrades: The 1935 Siege of Winnipeg’s Deer Lodge Hospital.”

Benjamin D. Weber, “The Strange Career of the Convict Clause: US Prison Imperialism in the Panamá Canal Zone.”

Ernest Ming-Tak Leung, “The Japanese Factor in the Making of North Korean Socialism.”

Eugeny Morozov, “Critique of Techno-Feudal Reason.”

Mikkel Bolt Rasmussen, “Fascist Spectacle.”

Tiziana Terranova and Ravi Sundaram, “Colonial Infrastructures and Techno-social Networks.”

Looking forward to reading in 2023:

Ruan O'Donnell, Special Category: The IRA in English Prisons, Vol. 1 & 2

Garrett Felber, Those Who Know Don't Say: The Nation of Islam, the Black Freedom Movement, and the Carceral State

Gavin Walker, ed. The Red Years: Theory, Politics and Aesthetics in the Japanese '68

Cheryl D. Hicks, Talk with You Like a Woman: African American Women, Justice, and Reform in New York, 1890-1935

Sebastein Elsbach, Eiserne Front: Abwehrbundnis Gegen Rechts, 1931 Bis 1933

[fundgruber]

I am concerned with how the “outernet” - the network of social, cultural, and economic relationships that criss-crosses and exceeds the Internet - surrounds and connects the latter to larger flows of labor, culture, and power. It is fundamental to move beyond the notion that cyberspace is about escaping reality in order to understand how the reality of the Internet is deeply connected to the development of late postindustrial societies as a whole.

Terranova, Tiziana. "Free Labor: Producing Culture for the Digital Economy." Social Text 18, no. 2 (2000): 33-58. 

[lavidaessiendo]

el algoritmo capitalista

Contrariamente a algunas variantes del marxismo que tienden a identificar completamente a la tecnología con el “trabajo muerto”, el “capital fijo” o la “racionalidad instrumental” y, por tanto, con el control y los dispositivos de captura, parece importante recordar que, para Marx, la evolución de la maquinaria indica también un nivel de desarrollo de los poderes productivos que son liberados pero nunca completamente contenidos por la economía capitalista. Lo que interesaba a Marx (y lo que hace a su trabajo relevante todavía para aquellos que luchan por un modo de existencia postcapitalista) es la manera en que la tendencia del capital a invertir en tecnología para automatizar y, por tanto, para reducir los costos del trabajo al mínimo, potencialmente libera un “excedente” de tiempo y energía (trabajo) o un exceso de capacidad productiva en relación con el trabajo fundamental, importante y necesario de reproducción (una economía global, por ejemplo, debería primero que nada producir suficiente riqueza para que todos los miembros de la población planetaria fuesen adecuadamente alimentados, vestidos, curados y alojados). 

Sin embargo, lo que caracteriza a la economía capitalista es que este excedente de tiempo y energía no es simplemente liberado, sino que es reabsorbido constantemente en el ciclo de producción de valor de cambio, lo que conduce a la creciente acumulación de riqueza por parte de unos pocos (el capitalista colectivo) a expensas de muchos (las multitudes). La automatización, desde el punto de vista del capital, debe siempre, por lo tanto, ser compensada con nuevos modos de controlar (o sea, de absorber y agotar) el tiempo y la energía así liberados. Debe producir pobreza y estrés donde debería existir riqueza y ocio. Debe hacer del trabajo directo la medida del valor aun cuando es evidente que la ciencia, la tecnología y la cooperación social constituyen la fuente de la riqueza producida. Esto conduce así inevitablemente a la destrucción periódica y generalizada de la riqueza acumulada, en las formas de agotamiento psíquico, catástrofe ambiental y destrucción física de la riqueza por medio de la guerra. Crea hambre donde debería haber saciedad, coloca bancos de alimentos a la vera de la opulencia de los súper ricos. Es por esto que la noción de un modo de existencia postcapitalista debe hacerse creíble, es decir, debe llegar a ser lo que Maurizio Lazzarato describe como un resistente foco de subjetivación autónomo. Un nuevo orden postcapitalista basado en el común (un commonismo) puede apuntar no solo a una mejor distribución de la riqueza comparada con aquella insostenible que hoy existe, sino también a la recuperación del “tiempo disponible”, esto es, tiempo y energía libres de trabajo para ser utilizados en desarrollar y profundizar la noción misma de lo que es “necesario”.

Tiziana Terranova, El Algoritmo Capitalista en Revista Anfibia.

[stacktivism]

Into the Red Stack

Gabriele de Seta on China’s digital entrepreneurs, infrastructures and platforms.

A vast majority of current discussions about digital platforms and their infrastructural ambitions focuses on the “Big Four” that are often earmarked under the acronym GAFA (Google, Apple, Facebook, and Amazon). In his Platform Capitalism, Nick Srnicek describes how these companies share the common trait of having transformed a single product (a search engine, a smartphone, a social networking service, an e-commerce website) into a platform offering free services and capable of generating revenue through the exploitation of network effects and the extraction of user data. In the Chinese context, the GAFA companies are commonly mirrored by the BAT (Baidu, Alibaba and Tencent) trio of local platform companies that currently dominates the national Internet market. Similarly developed into platforms from pre-existing web search, e-commerce or entertainment services, the BAT companies have consolidated their dominance through acquisitions and investments in domains ranging from big data and AI to logistics and finance.

Benjamin H. Bratton has extensively theorized “the Stack” as a model useful to navigate the vertical overlaying of infrastructures and platforms with the geopolitics of informational and national sovereignty. For Bratton, the Stack is the result of various sorts of planetary-scale computation, coming together to form an “accidental megastructure” that is also a new architecture of sovereignty. While Bratton rubrics the future configurations of this accidental megastructure under the looming image of a “Black Stack,” Tiziana Terranova proposes to reimagine a new nomos of the post-capitalist commons as a “Red Stack,” composed by the three transversal and nonlinear levels of virtual money, social networks, and bio-hypermedia.

The Stack model, along with its speculative mutations that attempt to prototype planetary-scale computation through color gradations (the opaque black of cybernetic black boxes, the sanguine red of post-autonomist politics), offers glimpses of sociotechnical assemblages to come and design futures that might never be. And yet, by grounding their claims in a largely Euro-American experience of infrastructural imperialism and platform capitalism, these formulations overlook a geopolitical site where a different sort of Stack is already consolidating its interlocking layers: China.

(via Into the Red Stack | Hong Kong Review of Books)

Extremely interesting stuff // JAY 

[globalhappenings]

The City of Women Award to Elisabetta Sgarbi and Boldrini

The City of Women Award to Elisabetta Sgarbi and Boldrini

(ANSA) – ROME, DEC 13 – The publisher Elisabetta Sgarbi, the writer Nadia Terranova, the poetess Luigia Sorrentino, the journalist Tiziana Ferrario, the writer and radio presenter Loredana Lipperini and the former president of the Chamber Laura Boldrini: are the winners of the first edition of the “Le Città delle Donne” Award. The award ceremony will take place on Thursday 16 December at 6.00 pm…

[maddalenafragnito]

ART FOR RADICAL ECOLOGIES MANIFESTO

World Congress for Climate Justice, Milan 12-15 October 2023

Institute of Radical Imagination participates in the framework of the World Congress for Climate Justice, Milan 12-15 October 2023. Conceived as a First International aimed at opening up a space of discussion between explicitly anti-capitalist climate movements, activists and intellectuals from all over the planet, with the ambition of defining a common agenda and ideological perspective in the shared transnational space of the ecosocial struggles of the present.

With 200+ delegates and 60+ movement.

📍State University of Milan, via Festa del Perdono 7, Cloister Legnaia (Aula EcoLab) 🗓 12 October 2023 🕦 H 14:30 – 16:00

ART FOR RADICAL ECOLOGIES PLATFORM

ASSEMBLY #3

impulsed by Institute of Radical Imagination aims at co-writing the 

ART FOR RADICAL ECOLOGIES MANIFESTO

Participants a.o.

Institute of Radical Imagination (Marco Baravalle, Emanuele Braga, Sara Buraya, Maddalena Fragnito, Gabriella Riccio, Federica Timeto), The Yes Men (Mike Bonanno) and Barbie Liberation Organization, Andreco Climate Art Project, Ashley Dawson, Terike Haapoja, Andrea Natella, Noura Tafeche, Serpica Naro, Dirty Art Department (Jerszy Seymour, Theo Dietz e Rosa Meulenbeld), Effimera (Giorgio Griziotti), Tiziana Terranova, and the contribution in remote by Arts for the Commons A4C (Rosa Jijón and Francesco Martone) and Laboratory of Insurrectionary Imagination (Isabelle Fremeaux & Jay Jordan)

The Milano World Congress for Climate Justice is the opportunity to bring together art and performing arts workers to continue a discussion that will lead to the collective writing of a manifesto on the role of art in the struggle for climate justice and in the creation of new ecologies (which take into account the intersection of environmental and social facts). If the pandemic had already dramatically underlined the consequences of extractivist anthropization, the war in Ukraine (in addition to its immediate death toll) is a manifestation of what Andreas Malm has called ‘fossil fascism’, a mix of authoritarianism and fossil fuels that weakens the already insufficient measures to combat global warming. The scarcity of Russian gas has brought coal back into vogue and, in Italy, the construction of new re-gasifiers is on the agenda. The decision to organize the workshop at the World Congress for Climate Justice 2023 reflects our belief in the importance of freeing art from the capture of institutional circuits. We want to experience, as participants in social movements, aesthetic-political concatenations that interpret creativity as a radical character of the social and not as a commodity. The participants also share the conviction that the fight for climate justice is, necessarily, a fight against and beyond extractive capitalism, even in its green version (actually an attempt to turn the crisis into new accumulation). The workshop will involve discussion and co-creation starting from the practices of the invited guests around certain central themes: the use of art as a method of inquiry and visualization in the climate crisis; the production of activist art forms that look at the performativity of direct action; art as a ground for radical imagination in designing new ecologies that reshape the relationship between human and non-human; art as an archive of movement practices, and so on.