Added some recommended manifestos

content/manifestos/1997-05-11-The-ABC-of-Tactical-Media.txt

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+#The ABC of Tactical Media
+
+##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.’
+
+(This manifest was written for the opening of the web site of the Tactical Media Network, hosted by De Waag, the Society for Old and New Media: http://www.waag.org/tmn). a critique of this manifesto by Peter Lamborn Wilson can be read in the KRITIK section. 
+
+----
+
+Source: http://www.ljudmila.org/nettime/zkp4/74.htm

content/manifestos/1997-05-29-Piran-Nettime-Manifesto.txt

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+#29.5.1997, The Piran Nettime Manifesto
+
+A PRESS RELEASE by Nettime (Vienna ad-hoc committee)
+
+   PRESS CONFERENCE   29.5.1997   19:00 
+   Public Netbase Media~Space!, Museumsquartier, Museumsplatz 1, 
+   Vienna/Austria Thursday, 29.5.1997   19:00 
+   Participants: Pit Schultz (Berlin), Geert Lovink (Amsterdam), Critical Art 
+                      Ensemble (Chicago), Diana McCarty (Budapest), 
+                      Marko Peljhan (Ljubljana), Oliver Marchart (Wien),
+                      Peter Lamborn Wilson (New York)
+
+"Why do you rob banks?"
+"Because that's where the money is." (Willie Sutton, famous bank robber)
+
+Last week Nettimers frolicked in the real space/time continuum on the 
+Slovenian coast in the town of Piran where the following bullets were 
+established:
+
+· Nettime declares Information War.
+· We denounce pan-capitalism and demand reparations. Cyberspace is where 
+  your bankruptcy takes place. 
+· Nettime launches crusade against data barbarism in the virtual holy land.
+· We celebrate the re-mapping of the Ex-East/Ex-West and the return to 
+  geography.
+· We respect the return to "alt.cultures" and pagan software structures 
+   ("It's normal!").
+· Deprivatize corporate content, liberate the virtual enclosures and storm 
+  the content castles!
+· Refuse the institutionalization of net processes.
+· We reject pornography on the net unless well made. 
+· We are still, until this day, rejecting make-work schemes and libertarian 
+  declarations of independence.
+· NGOs are the future oppressive post-governments of the world. 
+· We support experimental data transfer technology.
+· Participate in the Nettime retirement plan, zero work by age 40. 
+· The critique of the image is the defense of the imagination.
+· Nettime could be Dreamtime.
+
+Questions can be addressed to the participants at the Nettime press 
+conference, Public Netbase, Museumsquartier, Vienna, 29.5.1997, 19:00 hours
+
+----
+
+Source: http://www.nettime.org/Lists-Archives/nettime-l-9705/msg00147.html

content/manifestos/2002-12-30-Wireless-Commons-Manifesto.txt

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+# The Wireless Commons Manifesto
+
+NOTE: Anyone can sign The Wireless Commons Manifesto
+(http://dev.wirelesscommons.org/node.php?id=2). Charter signatories: Adam
+Shand (Personal Telco), Bruce Potter (CAWNet), Paul Holman (Shmoo Group)
+and Cory Doctorow (EFF). ---- We have formed the Wireless Commons because
+a global wireless network is within our grasp. We will work to define and
+achieve a wireless commons built using shared spectrum, and able to
+connect people everywhere. We believe there is value to an independent and
+global network which is open to the public. We will break down commercial,
+technical, social and political barriers to the commons. The wireless
+commons bridges one of the few remaining gaps in universal communication
+without interference from middlemen and meddlers.
+
+Humanity is on the verge of a turning point because the Internet has
+transformed the way humans relate with one another. All communication can
+be traced to a human relationship, whether it's lovers exchanging instant
+messages or teenagers sharing music. The Internet has given us the ability
+to communicate faster and more cheaply than ever before in history.
+
+The Internet's value increases exponentially with the number of people who
+are able to participate. In today's world, communication can take place
+without the use of antiquated telecommunications networks. The
+organizations that control these networks are limping anachronisms that
+are constrained by the expense and physical necessity of using wires to
+build their networks. Because of this, they cannot serve the great mass of
+people who stand to benefit from a wireless commons. Their interests
+diverge from ours, and their control over the network strangles our
+ability to communicate.
+
+Low-cost wireless networking equipment which can operate in unlicensed
+bands of the spectrum has started another revolution. Suddenly, ordinary
+people have the means to create a network independent of any physical
+constraint except distance. Wireless can travel through walls, across
+property boundaries and through a community. Many communities have formed
+worldwide to help organize these networks. They are forming the basis for
+the removal of the traditional telecommunication networks as an
+intermediary in human communication.
+
+The challenge facing community networks is the one limiting factor of
+wireless communication: distance. The relationships that can be formed
+across a community wireless network are limited by their physical reach.
+Typically these networks are growing to the size of a city, and growth
+beyond that point requires coordination and a strategic vision for
+community wireless networks as a whole. Without this coordination, it is
+hard to see how the worldwide community of wireless networking groups will
+ever merge their systems and create a true alternative to existing
+telecommunication networks.
+
+There are many barriers to the creation of a global network. So far, the
+focus has been on identifying the technical barriers and developing
+methods to overcome them. But technical problems are the least of our
+worries, the business, political and social issues are the real challenges
+facing community networks. Hardware and software vendors need to
+understand the business rationale for implementing our technical
+solutions. Politicians need to understand our requirements for universal
+access to unlicensed spectrum. The public needs to understand that the
+network exists and how to get access. Unless these problems are identified
+and addressed, the community wireless movement will never have influence
+beyond a local level.
+
+Most importantly, the network needs to be accessible to all and
+provisioned by everyone who can provide. By adding enough providers to the
+network, we can bridge the physical gaps imposed by the range of our
+equipment. The network is a finite resource which is owned and used by the
+public, and as such it needs to be nurtured by the public. This, by its
+very nature, is a commons.
+
+Becoming a part of the commons means being more than a consumer. By
+signing your name below, you become an active participant in a network
+that is far more than the sum of its users. You will strive to solve the
+social, political and technical challenges we face. You will provide the
+resources your community consumes by co-operating with total strangers to
+build the network that we all dream of.
+
+jon lebkowsky
+http://www.weblogsky.com
+jonl@weblogsky.com
+
+----
+
+Source: http://fc.retecivica.milano.it/Reti%20Civiche/S03B1354A-03B13768?WasRead=1

content/manifestos/2010-01-02-Slow-Media-Manifesto.txt

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+# The Slow Media Manifesto
+
+The first decade of the 21st century, the so-called ‘naughties’, has brought profound changes to the technological foundations of the media landscape. The key buzzwords are networks, the Internet and social media. In the second decade, people will not search for new technologies allowing for even easier, faster and low-priced content production. Rather, appropriate reactions to this media revolution are to be developed and integrated politically, culturally and socially. The concept “Slow”, as in “Slow Food” and not as in “Slow Down”, is a key for this. Like “Slow Food”, Slow Media are not about fast consumption but about choosing the ingredients mindfully and preparing them in a concentrated manner. Slow Media are welcoming and hospitable. They like to share.
+
+1. Slow Media are a contribution to sustainability. Sustainability relates to the raw materials, processes and working conditions, which are the basis for media production. Exploitation and low-wage sectors as well as the unconditional commercialization of user data will not result in sustainable media. At the same time, the term refers to the sustainable consumption of Slow Media.
+
+2. Slow media promote Monotasking. Slow Media cannot be consumed casually, but provoke the full concentration of their users. As with the production of a good meal, which demands the full attention of all senses by the cook and his guests, Slow Media can only be consumed with pleasure in focused alertness.
+
+3. Slow Media aim at perfection. Slow Media do not necessarily represent new developments on the market. More important is the continuous improvement of reliable user interfaces that are robust, accessible and perfectly tailored to the media usage habits of the people.
+
+4. Slow Media make quality palpable. Slow Media measure themselves in production, appearance and content against high standards of quality and stand out from their fast-paced and short-lived counterparts – by some premium interface or by an aesthetically inspiring design.
+
+5. Slow Media advance Prosumers, i.e. people who actively define what and how they want to consume and produce. In Slow Media, the active Prosumer, inspired by his media usage to develop new ideas and take action, replaces the passive consumer. This may be shown by marginals in a book or animated discussion about a record with friends. Slow Media inspire, continuously affect the users’ thoughts and actions and are still perceptible years later.
+
+6. Slow Media are discursive and dialogic. They long for a counterpart with whom they may come in contact. The choice of the target media is secondary. In Slow Media, listening is as important as speaking. Hence ‘Slow’ means to be mindful and approachable and to be able to regard and to question one’s own position from a different angle.
+
+7. Slow Media are Social Media. Vibrant communities or tribes constitute around Slow Media. This, for instance, may be a living author exchanging thoughts with his readers or a community interpreting a late musician’s work. Thus Slow Media propagate diversity and respect cultural and distinctive local features.
+
+8. Slow Media respect their users. Slow Media approach their users in a self-conscious and amicable way and have a good idea about the complexity or irony their users can handle. Slow Media neither look down on their users nor approach them in a submissive way.
+
+9. Slow Media are distributed via recommendations not advertising: the success of Slow Media is not based on an overwhelming advertising pressure on all channels but on recommendation from friends, colleagues or family. A book given as a present five times to best friends is a good example.
+
+10. Slow Media are timeless: Slow Media are long-lived and appear fresh even after years or decades. They do not lose their quality over time but at best get some patina that can even enhance their value.
+
+11. Slow Media are auratic: Slow Media emanate a special aura. They generate a feeling that the particular medium belongs to just that moment of the user’s life. Despite the fact that they are produced industrially or are partially based on industrial means of production, they are suggestive of being unique and point beyond themselves.
+
+12. Slow Media are progressive not reactionary: Slow Media rely on their technological achievements and the network society’s way of life. It is because of the acceleration of multiple areas of life, that islands of deliberate slowness are made possible and essential for survival. Slow Media are not a contradiction to the speed and simultaneousness of Twitter, Blogs or Social Networks but are an attitude and a way of making use of them.
+
+13. Slow Media focus on quality both in production and in reception of media content: Craftsmanship in cultural studies such as source criticism, classification and evaluation of sources of information are gaining importance with the increasing availability of information.
+
+14. Slow Media ask for confidence and take their time to be credible. Behind Slow Media are real people. And you can feel that.
+
+Stockdorf and Bonn, Jan 2, 2010
+
+Benedikt Köhler
+Sabria David
+Jörg Blumtritt
+
+----
+
+Source: http://en.slow-media.net/manifesto

content/manifestos/2011-02-03-A-DIY-Data-Manifesto.txt

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+# A DIY Data Manifesto
+## By Scott Gilbertson
+
+The word “server” is enough to send all but the hardiest nerds  
+scurrying for cover.
+The word usually conjures images of vast, complex data farms,  
+databases and massive infrastructures. True, servers are all those  
+things — but at a more basic level, they’re just like your desktop PC.
+
+Running a server is no more difficult than starting Windows on your  
+desktop. That’s the message Dave Winer, forefather of blogging and  
+creator of RSS, is trying to get across with his EC2 for Poets  
+project. The name comes from Amazon’s EC2 service and classes common  
+in liberal arts colleges, like programming for poets or computer  
+science for poets. The theme of such classes is that anyone — even a  
+poet — can learn technology.
+
+Winer wants to demystify the server. “Engineers sometimes mystify what  
+they do, as a form of job security,” writes Winer, “I prefer to make  
+light of it… it was easy for me, why shouldn’t it be easy for everyone?”
+
+To show you just how easy it is to set up and run a server, Winer has  
+put together an easy-to-follow tutorial so you too can set up a  
+Windows-based server running in the cloud. Winer uses Amazon’s EC2  
+service. For a few dollars a month, Winer’s tutorial can have just  
+about anyone up and running with their own server.
+
+In that sense Winer’s EC2 for Poets if already a success, but  
+education and empowerment aren’t Winer’s only goals. “I think it’s  
+important to bust the mystique of servers,” says Winer, “it’s  
+essential if we’re going to break free of the ‘corporate blogging  
+silos.’”
+
+The corporate blogging silos Winer is thinking of are services like  
+Twitter, Facebook and WordPress. All three have been instrumental in  
+the growth of the web, they make it easy for anyone publish. But they  
+also suffer denial of service attacks, government shutdowns and  
+growing pains, centralized services like Twitter and Facebook are  
+vulnerable. Services wrapped up in a single company are also  
+vulnerable to market whims, Geocities is gone, FriendFeed languishes  
+at Facebook and Yahoo is planning to sell Delicious. A centralized web  
+is brittle web, one that can make our data, our communications tools  
+disappear tomorrow.
+
+But the web will likely never be completely free of centralized  
+services and Winer recognizes that. Most people will still choose  
+convenience over freedom. Twitter’s user interface is simple, easy to  
+use and works on half a dozen devices.
+
+Winer doesn’t believe everyone will want to be part of the distributed  
+web, just the dedicated. But he does believe there are more people who  
+would choose a DIY path if they realized it wasn’t that difficult.
+
+Winer isn’t the only one who believes the future of the web will be  
+distributed systems that aren’t controlled by any single corporation  
+or  technology platform. Microformats founder Tantek Çelik is also  
+working on a distributed publishing system that seeks to retain all  
+the cool features of the social web, but remove the centralized  
+bottleneck.
+
+But to be free of corporate blogging silos and centralized services  
+the web will need an army of distributed servers run by hobbyists,  
+not  just tech-savvy web admins, but ordinary people who love the web  
+and want to experiment.
+
+So while you can get your EC2 server up and running today — and even  
+play around with Winer’s River2 news aggregator — the real goal is  
+further down the road. Winer’s vision is a distributed web where  
+everything is loosely coupled. “For example,” Winer writes, “the roads  
+I drive on with my car are loosely-coupled from the car. I might drive  
+a SmartCar, a Toyota or a BMW. No matter what car I choose I am free  
+to drive on the Cross-Bronx Expressway, Sixth Avenue or the Bay Bridge.”
+
+Winer wants to start by creating a loosely coupled, distributed  
+microblogging service like Twitter. “I’m pretty sure we know how to  
+create a micro-blogging community with open formats and protocols and  
+no central point of failure,” he writes on his blog.
+
+For Winer that means decoupling the act of writing from the act of  
+publishing. The idea isn’t to create an open alternative to Twitter,  
+it’s to remove the need to use Twitter for writing on Twitter. Instead  
+you write with the tools of your choice and publish to your own server.
+
+If everyone publishes first to their own server there’s no single  
+point of failure. There’s no fail whale, and no company owns your  
+data. Once the content is on your server you can then push it on to  
+wherever you’d like — Twitter, Tumblr, WordPress of whatever the site  
+du jour is ten years from now.
+
+The glue that holds this vision together is RSS. Winer sees RSS as the  
+ideal broadcast mechanism for the distributed web and in fact he’s  
+already using it — Winer has an RSS feed of links that are then pushed  
+on to Twitter. No matter what tool he uses to publish a link, it’s  
+gathered up into a single RSS feed and pushed on to Twitter.
+
+----
+
+Source: https://www.mail-archive.com/nettime-l@kein.org/msg02864.html

content/manifestos/2015-08-29-User-Data-Manifesto-v2.txt

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+# User Data Manifesto v2.0
+
+This manifesto aims at defining users’ fundamental rights to their own data in the Internet age. People ought to be free and should not have to pay allegiance to service providers.
+
+    User data means any data uploaded by a user for his or her own use.
+
+Thus, users should have:
+
+    Control over user data access
+
+    User data should be under the ultimate control of the user. Users should be able to decide whom to grant direct access to their data and with which permissions and licenses such access should be granted.
+
+    Data generated or associated with user data (e.g. metadata) should also be made available to that user and put under their control just like the user data itself.
+
+    Knowledge of how user data is stored
+
+    When user data is uploaded to a specific service provider, users should be informed about the geographic location that specific service provider stores the data in, how long, in which jurisdiction that specific service provider operates and which laws apply.
+
+    This point is not relevant when users are able to store their own data on devices in their vicinity and under their direct control (e.g. servers) or when they rely on systems without centralised control (e.g. peer-to-peer).
+
+    Freedom to choose a platform
+
+    Users should always be able to extract their data from the service at any time without experiencing any vendor lock-in.
+
+If users have these rights, they are in control of their data rather than being subjugated by service providers.
+
+Many services that deal with user data at the moment are gratis, but that does not mean they are free (as in freedom). Instead of paying with money, users are paying with their allegiance to the service providers so that they can exploit user data (e.g. by selling them, licensing them or building a profile for advertisers).
+
+Surrendering privacy and other rights in this way may seem to many people a trivial thing and a small price to pay for the sake of convenience that these Internet services bring.
+
+Service providers have thus been unwittingly compelled to turn their valuable Internet services into massive and centralised surveillance systems. It is of grave importance that people understand and realize this, since it forms a serious threat to the freedom of humanity and to the privacy of each individual.
+
+Ultimately, to ensure that user data is under the users’ control, the best technical designs include peer-to-peer or distributed systems, and unhosted applications. Legally, that means terms of service should respect users’ rights and give them the possibility to exercise the datarights defined in this manifesto.
+
+----
+
+Source: https://userdatamanifesto.org/

content/manifestos/9998-authors.md

@@ -20,6 +20,8 @@ Listed in alphabetical order.
 
 **Loyd Blankenship** (a.k.a. The Mentor) - author of *The Hacker’s Manifesto* (1986).
 
+**Jörg Blumtritt** - co-author of the *Slow Media Manifesto* (2010).
+
 **Cody Brocious (Daeken)** - author of the *Hardware Hacker Manifesto* (2010).
 
 **Chaos Computer Club e.V.** - association of computer enthousiasts, author of the *Hackerethik* (1999).
@@ -34,6 +36,8 @@ Listed in alphabetical order.
 
 **Piotr Czerski** - author of *We, the Web Kids* (orig: "My, dzieci sieci", 2012).
 
+**Sabria David** - co-author of the *Slow Media Manifesto* (2010).
+
 **Malte Dik** - co-author of the *CryptoParty Manifesto* (2012).
 
 **Constant Dullaart** - artist, author of *Balconism* (2014). Constant Dullaart is a former resident of the Rijksakademie in Amsterdam, living and working mostly in Berlin. His work often deals with the effects and affects of contemporary communication and mass media, both online and offline. http://constantdullaart.com 
@@ -46,8 +50,12 @@ Listed in alphabetical order.
 
 **Violet Forest** - artist, co-author of the *cybertwee manifesto* (2014).
 
+**David Garcia** - co-author of the *ABC of Tactical Media* (1997).
+
 **Jan Gerber** - co-author of the *CryptoParty Manifesto* (2012).
 
+**Scott Gilbertson** - author of the *DIY Data Manifesto* (2011).
+
 **Casey Gollan** - author of *The Perfect Medium User* (2016). @caseyg
 
 **Prof. Dr. Volker Grassmuck** - Leuphana University of Lüneburg. Co-initator of the *Open Web Index Manifesto* (2015). 
@@ -82,16 +90,22 @@ Listed in alphabetical order.
 
 **Bill Kerr** - curator of *Mark Shuttleworth’s Ubuntu manifesto* (2007).
 
+**Benedikt Köhler** - co-author of the *Slow Media Manifesto* (2010).
+
 **René König**, Karlsruhe Institute of Technology. Co-initator of the *Open Web Index Manifesto* (2015). 
 
 **Kopimi** - collective, author of *POwr, Broccoli and Kopimi* (2009).
 
 **Agata Królikowski**, Leuphana University of Lüneburg. Co-initator of the *Open Web Index Manifesto* (2015). 
 
+**Jon Lebkowsky** - Author of the *Wireless Commons Manifesto* (2002).
+
 **Prof. Dr. Dirk Lewandowski** - Hamburg University of Applied Sciences. Co-initator of the *Open Web Index Manifesto* (2015).
 
 **Olia Lialina** - artist, author of the *Bill Of Computer Users Rights* (2013).
 
+**Geert Lovink** - co-author of the *ABC of Tactical Media* (1997).
+
 **Miltos Manetas** - artist, author of the *Piracy Manifesto* (2009).
 
 **Brian Marick** - co-author of the *Manifesto for Agile Software Development* (2001).
@@ -118,10 +132,14 @@ Listed in alphabetical order.
 
 **Chris Pinchen** - co-author of the *CryptoParty Manifesto* (2012).
 
+**Marie Ringler** - poster of the *Piran Nettime Manifesto* (1997).
+
 **Evan Roth** - artist, co-author of *We Lost* (2015).
 
 **Daniel Rourke** - artist, co-author of *The 3D Additivist Manifesto* (2015).
 
+**Hugo Roy** - author of the *User Data Manifesto v2.0* (2015).
+
 **Dr. Wolfgang Sander-Beuermann**, SUMA-EV. Co-initator of the *Open Web Index Manifesto* (2015). 
 
 **Gordan Savičić** - co-author of the *Critical Engineering Manifesto* (2011).