Ricardo Dominguez Keynote Speaker and Micha Cardenas speaking at Marxism and New Media Conference

January 20-21 2011

Duke University Program in Literature, Box 90670, Durham, NC 27708

New media technologies are leading to the emergence of vibrant public spaces in countries like China and Tunisia, facilitating previously restricted dissent and political deliberation. Similarly, scholars, journalists, and activists are using networking and social media to organize coalitions and mobilize resistance in contexts as diverse as the Wisconsin protests, the Wall Street protests, and the so-called “Arab Spring.” In an ironic self-critique, smartphone applications like the newly released “Phone Game” are even exposing the global working conditions and problematic material production of contemporary consumer technology through their very gameplay. With the implicit resistance to hegemony and material critique in these examples, Marxism offers both methodological and interpretive tools for interfacing with new media, not least among them a dialectical analysis of the global relations of production. However, writing in the Nation, Chris Lehmann has recently argued that the Internet is less the harbinger of post-capitalist cyber-Utopia than a “digital plantation” in which unpaid digital labor and leisure time become transmogrified into ad revenue. In their article, “The Internet’s Unholy Marriage to Capitalism,” John Bellamy Foster and Robert W. McChesney likewise argue that the Internet and related media signify not the suspension of the laws of capitalism, but rather their final perfection.

It seems, then, that a number of unresolved questions linger concerning the ways new media both participate in and creatively resist institutional power. As such, we hope to provide a fresh articulation interrogating the intersection between the theories and practices of new media technologies and Marxist critique. For example: how should we consider the economic, environmental, and human costs incurred in the production of new media technologies? How might resistance and radical change emerge among the ongoing institutionalization, and the incumbent conservatism, of both Marxism and new media studies? How will we navigate through the internal divisions of an academy that has eagerly appropriated new media as a strategy to “reinvigorate” the humanities through renewed funding and (often) corporate partnership?

http://literature.duke.edu/conference2012

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Stop American Censorship


Congress is about to pass internet censorship, even though the vast majority of Americans are opposed. We need to kill the bill – PIPA in the Senate and SOPA in the House – to protect our rights to free speech, privacy, and prosperity.

http://americancensorship.org/

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Immigrant/Emigrant
curated by Lara Bullock

Daniela Calandra
Bill Daniel
Micki Davis
Casey Smallwood
Electronic Disturbance Theater/b.a.n.g. lab

Opens January 22, 2012
Opening Reception: Sunday, January 22, 1:00 pm – 5:00 pm

Immigrant/Emigrant will explore the negotiation of art practice from an “outsider’s” perspective. This can refer to non-traditional art practices that challenge more traditional modes of art practice in terms of medium and/or subject matter. It may also refer to practices that take place outside of the traditional exhibition space or work within it in a non-traditional way. Work may also adopt more literal approaches to the title and address issues of immigration or emigration directly.

Immigrant/Emigrant will negotiate terms of difference under the inclusive umbrella of contemporary art.

MORE
http://www.angelsgateart.org/shows/immigrant_emigrant.html

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by Zach Blas on behalf of Reclamations

Ricardo Dominguez is a co-founder of The Electronic Disturbance Theater and a professor at UC San Diego in the Visual Arts Department, where he runs the b.a.n.g. lab, a space for artivist practices. He has pioneered developments in virtual sit-ins and electronic civil disobedience. In 2010, he became under legal investigation, in which his tenure was threatened, for a virutal sit-in led against the UC Office of the President and his current project, The Transborder Immigrant Tool.

Zach Blas: Can you start by giving a brief overview of the various practices–such as, electronic civil disobedience, hacktivism, and electronic disturbance–that you’ve engaged with throughout your times as an artist and activist? With your hire in the Visual Arts Department at UCSD, how do bringing these practices into the university affect not only how you deploy and enact them but also conceptualize them? Your virtual sit-ins have been in tension with universities in the past; what are your thoughts on the existence of these practices within a university context? What pedagogic functions do you see them performing?

Ricardo Dominguez: CALIT2 and the Visual Arts Department at UCSD offered me an assistant professor position that would allow me to continue my artivist research at a new level in 2004. I felt that it would be worth the effort to investigate doing Electronic Civil Disobedience, border disturbance art, and nano-political interventions within an institution–a core research question would be: what would ECD mean happening from a university?; what would be added to the work; and could it be used against the institution itself? UCSD offered me a stable research base to do work from and a place to continue developing gestures that would push the work beyond what we had achieved with Electronic Disturbance Theater (EDT), which was based on ideas that I had been working on/toward in the 80’s with Critical Art Ensemble (in Tallahassee, Florida) and in the 90′s with thing.net in New York City. During the 90’s, EDT established the gesture of Electronic Civil Disobedience–and a great deal of knowledge came from these performances on a global scale.

MORE:
http://www.reclamationsjournal.org/blog/?ha_exhibit=interview-with-ricardo-dominguez

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fauxlographic by Elle Mehrmand Monday Nov 21st, UCSD Visual Arts Facility Performance Space 7pm

fauxlographic

//elle mehrmand

november [21-23] 2011

opening reception monday 11-21-11 @ 6pm
performance @ 7pm

university of california san diego
visual arts facility // performance space

fauxlographic is a performative installation that takes place within an ethno-dysphoric cloning lab, where one can clone themselves in order to analyze their diasporic anxiety. The fauxlographic clones enact sonic rituals in Farsi, English and Perz-ish, based on multiple sources of information including  embodied memories, wikileaks cables, and textual references concerning Iran and Persia. The ethno-dysphoric scientist performs a daily computing ritual wearing a neuro-headset, (pars)ing the (fars)e of the clones’ information. When high levels of CO2 are detected by the lab’s sensors, the pixellated flesh of the clones degrade and multiply, reciprocating the affective presence of other bodies. The use of organic sensors transforms the lab into a spatial interface, confusing the somatic architecture of the performance.

gallery hours: tues-wed 12-6
performance @ 3pm

elleelleelle.org
assemblyofmazes.com

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The Transborder Immigrant Tool (TBT) is a project created by the University of California at San Diego’s Electronic Disturbance Theater (EDT) 2.0/b.a.n.g. lab, and still evolving today. Here Ricardo Dominguez, co-founder of EDT (with Brett Stalbaum), Principal Investigator of b.a.n.g. lab, and Associate Professor in the Visual Arts Department at UCSD, discusses the project with Lawrence Bird. The interview includes input from other members of the collective: Brett Stalbaum, Micha Cardenas, Amy Sara Carroll and Elle Mehrmand.

Lawrence Bird: Simply put, the Transborder Immigrant Tool is a hand-held device to aid crossers of the Mexico-US border. As far as the cultural and political implications of this device, it’s loaded. But as a starting point, could you tell us a little bit about the technical side of the device?

Ricardo Dominguez: We began with the basic question: what ubiquitous technology would allow us to create an inexpensive tool to support the finding of water caches left in the Southern California desert by NGO’s? Our answer was that the sub-$20 iMotorola phone series could be made useful for emergency navigation. The early generation of the platform we targeted can be made reasonably useful in a better-than-nothing scenario. Meanwhile, later phone generations (that don’t yet cross our price barrier but are getting closer everyday) are already fully useful as practical aids without even a SIM card installed or an available network service. With proper use, the GPS performance of newer phones equals any GPS designed for desert navigation, and their used prices are falling. Moreover, GPS itself does not require service and has free global coverage, courtesy of the United States government. In an emergency scenario, we trust these later mobiles to direct a lost person to a nearby safety site. The TBT’s code is also available on-line to download at walkingtools.net, sans water cache locations, for any individual or community to use for their GPS investigations.

Lawrence Bird: It’s an interesting instance of technology intersecting with geography. You have referred to Donna Haraway’s work in your own comments on the intersection between “border crossing” and other forms of “trans”-being. Would it be accurate to see the TBT as a cyborg component; and if so, what does this mean for the relationship between technology, politics and poetics?

Ricardo Dominguez: Part of the TBT project is to call into question the northern cone’s imaginary about who has priority and control of who can become a cyborg or “trans” human – and immigrants are always presented as less-than-human and certainly not part of a community which is establishing and inventing new forms of life. When in fact these flowing in-between immigrant communities are a deep part of the current condition that Haraway’s research has been pointing towards – for us it is a queer turn in its emergence, both as unexpected and as desire. The investigation of queer technology and what this queering effect has been or might be is an important part of our conversations – especially via Micha Cardenas’ research. This gesture dislocates the techno-political effect with aesthetic affects that become something other than code: a performative matrix that fractalizes and reverses the disorder of things with excessive transbodies acting from the inside-out of those enforced borderless borders. These affects assemble new empirico-tran(s)cendental forms of multi-presence(s) incommensurable with the capitalist socius of the so called “immaterial” Empire. As the Zapatistas say, “we do not move at the speed of technology, but at the speed of dreams” – the heart of the trans-border-borg.

MORE:

http://www.furtherfield.org/features/interviews/global-positioning-interview-ricardo-dominguez

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In “The Three Ecologies,” Félix Guattari proposes strategies for an eco-logic and ethico-aesthetic. In grammar, ‘correlative’ implies a (non-adjacent) reciprocal or complimentary relationship. Affixing the two, Ecologías Correlativas presents projects and research from a trans-disciplinary group of artists, architects and scientists navigating interrelated environmental/socio-political ecologies. Many of the participants privilege an open source ethos and think tank mentality, effectively democratizing prototypes and distribution models. From harvesting energy to mobilizing individuals, the works on display ask us to reconsider the roles of technology and subjectivity in what is broadly referred to as ‘ecological’.

Participating artists include: Dan Baker, Ecosistema Urbano, Electronic Disturbance Theater 2.0/b.a.n.g. lab, Fluxxlab, Living Environments Lab, N55, Miguel Soares, Dr. Manos Tentzeris, Terreform ONE, Ricardo Miranda Zúñiga texts by Ignacio Nieto & Avinash Rajagopal

http://319scholes.org/oct-13-%e2%80%93-oct-27-2011-ecologias-correlativas/

chimera+ is a curatorial initiative preoccupied with constructing a politics of the present. [ http://chimera-plus.info/ ]

October 13 – October 27, 2011
Opening on Thursday October 13, 7:00PM – 10:00PM
Gallery Hours: Thursday – Saturday, 2:00pm – 6:00pm, and by appointment

For more information and image requests, please contact info@319scholes.org.

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¡Viva México!

by Nicolas Defosse

Presented by Daniela Contreras the film’s producer.

Tuesday October 4th, 2011, 5p.m.
UCSD/Institute of the Americas – Hojel Auditorium
10111 North Torrey Pines
Rd. La Jolla, CA 92037

City of Los Angeles, USA. In the heart of the city, undocumented Mexican immigrants are hunted by the police and struggle to earn a living without losing their identity. On the other side of the border, in the mountains of southeastern Mexico, dawn arrives, hidden in mist. It is January 1st, 2006; thousands of indigenous Zapatistas prepare to say farewell to their spokesman Subcomandante Marcos. His mission: to travel across the country for the next six months to learn from the resistance of Mexican men and women who fight for a better Mexico.So begins a journey that plans to reach the border with the United States, at the other end of the country…

From Chiapas to Quintana Roo, from Yucatan to Oaxaca, from Nayarit to Colima, from Michoacan to Guerrero, from the State of Mexico to the heart of the country and the enormous metropolis known as Mexico City, we follow the steps of this journey that traces the face of the “other” Mexico, made up of the humble and simple people, a face much different from the one TV shows us every day. It is a journey that dares to “start building the image of the people we really are.” as expressed by Subcomandante Marcos.

This challenge is not without risks… by uncovering Mexico’s dignified and rebellious face, irrigating the seeds of rebellion and solidarity of an entire country, this journey is a provocation against those who control the country’s economy and it’s image. What starts as an isolated murmur will become a clamor of hundreds of thousands of voices, ¡Viva Mexico! How will those in power respond?

Sponsored by CILAS, the Institute of the Americas, the Literature Department
and the Visual Arts Department at USCD

¡Viva México! film web page http://www.vivamexicofilm.com/

Terra Nostra Films web page http://www.terranostrafilms.com/

Facebook (information and pictures of the tours) http://www.facebook.com/pages/Terra-Nostra-Films/111421438895535

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Electronic Disturbance Theater 2.0/b.a.n.g.lab read Transborder Immigrant Tool poetry in L.A. (6:25 in) but you should view all it when you can. Enjoy.

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Border Haunt is an attempt to bring two different databases associated with the U.S.-Mexico border into contact with one another for the duration of one day. It is an invitation to join a temporary network of people from across the world and participate in an aesthetic and political experiment, in what I’m calling a border database collision.

The first of the two databases involved in the collision acts as an archive of migrants that have died while attempting undocumented crossings of the U.S.-Mexico border territory. These deaths are caused by the extreme environmental conditions of the desert, the anonymous violence of vigilantes, abusive law enforcement officers, and other causes. There are over 2000 entries in this database.

The gesture starts tomorrow: July 15th, 2011

More: http://www.borderhaunt.com/

Recent article: Deadly conditions for Mexico-US migrants
http://aje.me/qEoYwh

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