Dark Fiber: Tracking Critical Internet Culture by Geert Lovink

By Geert Lovink

In response to media critic Geert Lovink, the net is being closed off by way of agencies and governments reason on making a enterprise and knowledge surroundings freed from dissent. Calling himself an intensive media pragmatist, Lovink envisions an online tradition that is going past the engineering tradition that spawned it to carry humanities, consumer teams, social hobbies, nongovernmental agencies (NGOs), artists, and cultural critics into the center of net development.In darkish Fiber, Lovink combines aesthetic and moral issues and problems with navigation and usability with no ever wasting sight of the cultural and financial agendas of these who regulate undefined, software program, content material, layout, and supply. He examines the unwarranted religion of the cyber-libertarians within the skill of marketplace forces to create a decentralized, available conversation process. He reports the interior dynamics of hackers' teams, web activists, and artists, trying to comprehend the social legislation of on-line existence. ultimately, he demands the injection of political and monetary competence into the group of freedom-loving cyber-citizens, to wrest the net from company and kingdom control.The subject matters comprise the erosion of electronic mail, bandwidth for all, the increase and fall of dot-com mania, techno-mysticism, sustainable social networks, the struggle for a public web time ordinary, the ideas of web activists, mailing record tradition, and collaborative textual content filtering. Stressing the significance of intercultural collaboration, Lovink contains experiences from Albania, the place NGOs and artists use new media to strive against the country's poverty and isolation; from Taiwan, the place the September 1999 earthquake highlighted the cultural politics of the web; and from Delhi, the place a brand new media middle explores loose software program, public entry, and Hindi interfaces.

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This kind of aesthetics is guided by military perception. It is technical because it is defined by all the tools we are using. There is no aesthetics anymore besides or beyond the technical. All these thinkers were relatively unknown until the late 1980s. But this all changed when the Western societies went through a narcotic period of intense speculation—in bonds and currencies, real estate, painting, and . . theory. This happened during the 1980s. We see academic theory bursting out of its small circle, making an alliance with the visual art scene and the emerging media-art scene, which by then was mainly video art.

With the rise of the personal computer, the status of the text in society changed; so did the role of writing in the electronic age. Essential for these thinkers is that they have to introduce the “new” in the terms of the old. They always have to proclaim the new and condemn the old while still keeping a channel open to the traditional disciplines. So there is a constant oscillation between the new and the old, both of which must be incorporated in the theory. Also characteristic is a melancholic position towards the old terminology and sources, combined with a deep, philosophic fascination for the new, though never in a truly futuristic manner.

1, 1991: 31–41); review of Norbert Bolz, Theorie der neuen Medien (5, no. 4, 1991: 254–255); review of Television/Revolution, Das Ultimatum des Bildes, ed. Hubertus von Amelunxen and Andrei Ujica (Mediamatic 5, no. 4, 1991: 255–256); review of Philosophien der neuen Medien, ed. Ars Electronica (Mediamatic 4, no. 1, 1990, p. 73); “Media Archeology, An Introduction to the Work of Friedrich Kittler” (Mediamatic 3, no. 4, 1989: 185–189); review of Kunstforum 97 & 98, ed. Florian Roetzer (Mediamatic 3, no.

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