adding more manifestos!

content/manifestos/2008-01-21-anonymous.txt

@@ -0,0 +1,21 @@
+# We are Anonymous
+
+
+Knowledge is free.
+
+We are Anonymous.
+
+We are Legion.
+
+We do not forgive.
+
+We do not forget.
+
+Expect us.
+
+---
+
+Source: https://www.youtube.com/watch?v=JCbKv9yiLiQ    
+Date: January 21, 2008
+
+On January 21, 2008, a YouTube post set the template for future Anonymous proclamations. The video, in this case criticizing the Church of Scientology, includes the now-common Anonymous sign-off: "Knowledge is free. We are Anonymous. We are Legion. We do not forgive. We do not forget. Expect us."

content/manifestos/2009-glitch-studies.md

@@ -0,0 +1,26 @@
+# Glitch Studies Manifesto
+
+1. The dominant, continuing search for a noiseless channel has been — and will always be — no more than a regrettable, ill-fated dogma.
+Acknowledge that although the constant search for complete transparency brings newer, ‘better’ media, every one of these improved techniques will always possess their own in- herent fingerprints of imperfection.
+
+2. Dispute the operating templates of creative practice; fight genres, interfaces and expectations!
+Refuse to stay locked into one medium or between contradictions like real vs. virtual, obsolete vs. up-to-date, open vs. proprietary or digital vs. analogue. Surf the vortex of technology, the in-between, the art of artifacts!
+
+3. Get away from the established action scripts and join the avant-garde of the unknown. Become a nomad of noise artifacts!
+The static, linear notion of information-transmission can be interrupted on three occasions: during encoding-decoding (compression); feedback; or when a glitch (an unexpected break within the flow of technology) occurs. Noise artists must exploit these noise artifacts and explore the new opportunities they provide.
+
+4. Employ bends and breaks as a metaphor for différance. Use the glitch as an exoskeleton for progress.
+Find catharsis in disintegration, ruptures and cracks; manipulate, bend and break any medium towards the point where it becomes something new; create glitch art.
+
+5. Realize that the gospel of glitch art also reveals new standards implemented by corruption. Not all glitch art is progressive or something new. The popularization and cultivation of the avant-garde of mishaps has become predestined and unavoidable. Be aware of easily reproducible glitch effects, automated by softwares and plug-ins. What is now a glitch will become a fashion.
+
+6. Force the audience to voyage the acousmatic videoscape.
+Create conceptually synaesthetic artworks, that exploit both visual and aural glitch (or other noise) artifacts at the same time. Employ these noise artifacts as a nebula that shrouds the technology and its inner workings and that will compel an audience to listen and watch more exhaustively.
+
+7. Rejoice in the critical trans-media aesthetics of glitch artifacts.
+Utilize glitches to bring any medium in a critical state of hypertrophy, to (subsequently) criticize its inherent politics.
+
+8. Employ Glitchspeak (as opposed to Newspeak) and study what is outside of knowledge. Glitch theory is what you can just get away with!
+Flow cannot be understood without interruption or function without glitching. This is why glitch studies is necessary.
+
+Rosa Menkman

content/manifestos/2013-10-04-computer-users-rights.md

@@ -0,0 +1,100 @@
+# Bill Of Computer Users Rights
+
+We, Computer Users, demand the right to …
+
+- UNDO
+- Securely delete my history
+- have an "export" function
+- use free software on your own computer
+- ignore updates
+- See the URL from which content is displayed
+- own data
+- logout
+- Pause media indefinitely and be able to resume where I left off
+- see the computer
+- buy and install software outside 'app stores'
+- true anonymity
+- know whether my hardware will run free software
+- read source code
+- know explicitly what information is being retained due to my interaction - with your service/website/network/whatever
+- choose none of the above
+- a real keyboard (aka "hardkeys")
+- participate in society without having to use a particular software, - device or corporate web site.
+- symmetrical access
+- actually delete my account
+- disconnect
+- Access the file system and organize my data.
+- not be forced to use a app
+- copy & paste
+- be the (prime) beneficiary of whatever is created from our 'cognitive surplus'
+- have all data saved in clear text files
+- remove or reassemble all parts of hardware
+- have 6 months+ to grab my files before a hosting service shuts down
+- Have full control over the computing that my computer does
+- install applications outside of 'AppStores'
+- be un-Googable
+- a web browser
+- have more privacy in social networks
+- Knowledge of how the data is stored
+- not have my system "made obselete"
+- not be interrupted by a program
+- have the possibility to make everything useable without internet connection
+- switch off wireless and use a cable instead
+- peer-to-peer networks
+- edit app permissions in android settings
+- use my music as a ringtone
+- deep link
+- be certain in what country the server I'm connecting to is
+- have a button labelled "take off from cloud"
+- view the entire history of my online interaction
+- Install an operating system of my choice on a computer/phone/tablet/device
+- choose a platform
+- Control over user data access
+- my data not being converted
+- make screen shots.
+- pull
+- view offline
+- bequeath my social network account
+- add manually
+- be able to turn off the time stamp in Facebook
+- rename browser tabs
+- have every OS and mobile device compatible with each other
+- get revenue
+- disagree
+- contest the algorithm
+- show filetypes
+- not synchronise
+- negotiate terms & conditions
+- limit my content's virality
+- login
+- Hiding my Gender
+- exclude myself from experiments
+- see acceptable ads
+- customize colour schemes
+- personalize
+- simplification
+- eat kernels
+- not be spied upon by my device
+- hardware inter-compatibility
+- DDOS!
+- reply-all
+- not be a user
+- Control+Alt+Delete
+- set my own level of error correction!
+- have Ted Nelsons transclusion instead of copy&paste
+- ruin Internet Explorer. Forever.
+- abuse
+- convert any data for any device
+- plug off
+- idempotent requests without legal repercussions
+- actively distinguish between contributing to the public record and engaging in heresay
+
+---
+
+A year ago, in *Turing Complete User*, I wrote that the development of the Invisible Computer results in the creation of an Invisible User. We need to keep both the term and the idea of the User alive, to insure that users — those who use a system they haven't developed — don't lose either their rights or the opportunity to protect them. In the article I only briefly mention what these users rights could be.
+
+Now I'd like to invite computer users to elaborate and suggest points (long or short) that should be included in a Bill Of Computer Users Rights. Please participate! At the moment we need to collect varying opinions. Don't think that it's only about big issues like free software or data privacy. Demand to have a back button, if its absence infringes upon your rights as a computer user!
+
+olia lialina, 2013-10-04
+
+designed & programmed by Dragan Espenschied

content/manifestos/2014-balconism.txt

@@ -1,11 +1,9 @@
 # Balconism
 
-Text / Constant Dullaart 
-
 > A new "-ism" calls for sovereign expression in the 21st century, acronyms, typos, leetspeak, and kaomoji included.
 
 We are all outside on teh balcony now. Standing on a platform made out of a tweet into corporate versions of public space. We are not stored in a cloud, opaque or translucent to whomever. We publish, we get read. ok. Private publishing does not exist, we now know we always get read (hi). To select what we want to have read, and by whom, is our greatest challenge rly. For now and teh future. If you tolerate this, your children will be normalized. Outside, on the street, status updates in the air, checking into another spatial analogy of information exchange. Sometimes hard to reach, through tutorials, encryptions and principles. It is generous to be outdoors, watched by a thousand eyes recording us for the future, our actions to be interpreted as an office job. We need a private veranda above ground, a place for a breath of fresh air, out of sight for the casual onlooker, but great for public announcements. The balcony is both public and private, online and offline. It is a space and a movement at the same time. You can be seen or remain unnoticed, inside and outside. Slippers are ok on the balcony. Freedom through encryption, rather than openness. The most important thing is: you must choose to be seen. We are already seen and recorded on the streets and in trains, in emailz, chatz, supermarketz and restaurantz, without a choice. Remaining unseen, by making a clearer choice where to be seen. We are in the brave new now, get ready to choose your balcony, to escape the warm enclosure of the social web, to address, to talk to the people outside your algorithm bubble. U will not get arrested on the balcony, you and yours should have the right to anonymity on the balcony, although this might seem technically complicated. The balcony is a gallery, balustrade, porch and stoop. The balcony is part of the Ecuadorian embassy. Itz masturbating on the balcony when your local dictator passes by. AFK, IRL, BRB and TTYS. The balcony is the Piratebay memo announcing they will keep up their services by way of drones, or just Piratbyran completely. Publishing in a 403, publishing inside the referring link, and as error on a server. Balconism is IRC, TOR and OTR. Bal-Kony 2012. Balcony is Speedshows, online performances, Telecomix, Anonymous, Occupy and maybe even Google automated cars (def. not glass tho btw). Balconization, not Balkanization. The balcony-scene creates community rather than commodity. Nothing is to be taken seriously. Every win fails eventually. Proud of web culture, and what was built with pun, fun, wires, solder, thoughts and visions of equality. Nothing is sacred on the b4lconi. It is lit by screens, fueled by open networks, and strengthened by retweetz. On the balcony the ambitions are high, identities can be copied, and reality manipulated. Hope is given and inspiration created, initiative promoted and development developed. Know your meme, and meme what you know. I can haz balcony. Balconism is a soapbox in the park. The balcony is connected: stand on a balcony and you will see others. The balcony is connecting: you do not have to be afraid on the balcony, we are behind you, we are the masses, you can feel the warmth from the inside, breathing down your neck. Where privacy ceases to feel private, try to make it private. Ch00se your audience, demand to know to whom you speak if not in public, or know when you are talking to an algorithm. When you can, stay anonymous out of principle, and fun. And when you are in public, understand in which context and at what time you will and could be seen. Speak out on the balcony, free from the storefront, free from the single white space, but leaning into people's offices, bedrooms and coffee tables, leaning into virtually everywhere. On the balcony, contemporary art reclaims its communicative sovereignty through constant reminders of a freedom once had on the internet. Orz to the open internet builders and warriors. Learn how to do, then challenge how it is done. Encrypt. Encrypt well and beautifully. Art with too much theory is called Auditorium, and kitsch is called Living Room. Inspired by home-brew technologies and open network communications, create art in the spirit of the internet, resisting territories, be it institutional and commercial art hierarchies or commercial information hierarchies. The internet is every medium. Head from the information super highway to the balcony that is everywhere through the right VPN. The pool is always closed.
 
-*****
+---
 
-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 
+Constant Dullaart, 2014

content/manifestos/2015-art-after-failure.md

@@ -1,10 +1,8 @@
-# Art after failure: an artistic manifesto from the city of Bangalore
+# Art after failure
 
-by [IOCOSE](http://www.iocose.org) (Ruffino P., Cremonesi M., Cuttica F., Prati D.), available online at this [URL](http://iocose.org/art-after-failure/index.html)
+## an artistic manifesto from the city of Bangalore
 
-*Originally published in Ghidini, M. and Kelton, T. (2015), Silicon Plateau Vol-1, T.A.J. Residency and SKE Projects, Bangalore: India*
-
-## Two justifications
+### Two justifications
 
 This piece has the purpose of providing two extensive justifications. First, it attempts to explain why we, as a collective, have spent a period of artistic research in Bangalore, India. Bangalore is in fact undoubtedly far from the main geographical area where our work is normally based (that is Europe and the so called Western world, for the most part). Secondly, it proposes to justify our presence in the context of contemporary artistic production. This text is a report of our trip and a manifesto of our practice, both of which will merge together to justify our place and role in the world.
 
@@ -16,7 +14,7 @@ Finally, Post Fail might mean, perhaps with a slightly ironical twist, that we,
 
 So, why Bangalore? Why does this city matter in the theorisation of the Post Fail? We want to argue that Bangalore is an excellent example to understand and experience the importance of living, thinking and being **after failure**. In Bangalore the present moments in which the promises about the future of the city are enunciated and narrated matter more than anything else. The present of Bangalore is determined, in its architectural and urbanistic developments and through the introduction of businesses in the area, by a specific vision of the future. From what we experienced, this idea of the future generates immediate contradictions and inequalities, and quite interestingly most of these developments are carried out in the name of the corporations that invest in information technologies. Internet businesses are not just part of the city of Bangalore, but are the engine that drives the city towards a promised future. As Nair (2005) put it in the title of his text, Bangalore offers the ‘promise of the metropolis’. We like to look at Bangalore as a perfect occasion to investigate the present of such promises of technological and economic development, and to remind ourselves that these promises matter, are made of glass and steel that happens now, they move people, money and internet cables around the world that we live today. Through the notion of Post Fail we intend to respond to all this.
 
-## A city within a city
+### A city within a city
 
 What made Bangalore interesting for us was not the city itself, but the other city that lies within the city of Bangalore. This city-within-a-city is known as the Electronic City, or E-city. The E-city has been developing since the early 1980s and flourished in the last two decades. It consists of three areas, called Phase 1, 2 and 3, denominations for the successive stages of expansion that the E-city has undergone so far. The E-city hosts buildings and offices of the most important IT companies of the world. Its main purpose is to provide a safe and separated place where IT companies would base their businesses while being far from the problems (traffic, smog, etc.) that Bangalore has.
 
@@ -36,7 +34,7 @@ It is quite clear from a few visits that in Bangalore Internet still *matters*.
 
 Indeed, the contradictions of Bangalore are not more or less profound than those one can also find in European societies, where the four of us are born and raised and are currently living. However, here in Bangalore these are immediately visible to our foreign eyes. One could just look at the configuration of the city to see how the presence of IT industries is shaping the metropolis. Most of the development of Bangalore is driven by the E-city. In Bangalore, Internet is not strictly speaking a new thing, but incessantly produces new highways, skyscrapers and enclosed communities.
 
-## The problem with the new things
+### The problem with the new things
 
 > Not to lie about the future is impossible and one can lie about it at will
 
@@ -50,7 +48,7 @@ The narrative of the future that is changing the city of Bangalore suggests, for
 
 Bangalore is a clear example of a future that happens in the present time, and with tangible effects. The linearity of technological, economic and social progress is presented by specific actors who often have specific interests. And the idea of a post-whatever works in a similar way. As theoretical gesture, the post-whatever tells us the story of a historical development along with that of an imaginary future towards which a certain number of people are heading. Any post-whatever, when used to delineate a linear historical narrative of cause-effect relations, imagines time as following a clear progressive path, from the past towards a future condition.
 
-## The problem with the Post-Internet
+### The problem with the Post-Internet
 
 Discourses around post-whatever of any kind need to be interpreted within a political critique. And since our role of artists we want to contextualise our presence and role in the context of contemporary artistic production in relation to another post-whatever, the Post-Internet discourse.
 
@@ -66,7 +64,7 @@ What we are arguing is that Post-Internet as a movement, as varied and complex a
 
 For these reasons we are much more comfortable with less authoritative claims and less generalising perspectives. Bangalore shows that Internet is not a fact that we all share, and not in the same way. It generates different things, for different people, depending on where they live, what their social status is, and what sort of access to education they have.
 
-## Being Post Fail: Art after failure
+### Being Post Fail: Art after failure
 
 What does it mean then, to be Post Fail? We propose a sort of manifesto, which also works as guideline and summary:
 Being Post Fail and doing art after failure means:
@@ -76,11 +74,11 @@ Being Post Fail and doing art after failure means:
 * To accept the ethical challenge of doing art while recognising the limitations of one’s own position in the world and in history, yet while still saying something about the other possibilities in which our own present might also be.
 * To do art as if being DJs at a party, but DJs who are already feeling the hangover of that same party. These DJs-with-an-headache have the imperative to keep the music going: they have to take care somehow of the tension towards the collective joy of the party while knowing that, surely, everyone will leave and go in a separate direction at the very end. Doing art Post Fail means asking ourselves the question of what music is appropriate to play in such context, how to respect own one’s headache while giving an interesting (and possibly enjoyable) experience.
 
-There are several examples of this attitude in our production. To mention a few, the [NoTube Contest](http://iocose.org/works/notube.html) series for instance offers an award to who manages to find the most valueless video on YouTube. It is about the incredible amount of useless videos published and saved on YouTube, it acknowledges that YouTube is also, and maybe mostly about those useless videos with zero views, and yet tries to take care of these same videos with no value, of respecting and re-evaluating them for what they are.
+There are several examples of this attitude in our production. To mention a few, the *[NoTube Contest](http://iocose.org/works/notube.html)* series for instance offers an award to who manages to find the most valueless video on YouTube. It is about the incredible amount of useless videos published and saved on YouTube, it acknowledges that YouTube is also, and maybe mostly about those useless videos with zero views, and yet tries to take care of these same videos with no value, of respecting and re-evaluating them for what they are.
 
-The [In Times of Peace](http://iocose.org/works/in_times_of_peace.html) series imagines the life of a drone in a fictional time when war and terror are over. The impossibility of imagining such life is a way of reflecting on the difficulty of envisioning a time of peace. Yet the project takes care of such imagining an impossible future by dignifying a lonely drone which at least tries to do something for itself (such as running a 100 meters race, or taking selfies).
+The *[In Times of Peace](http://iocose.org/works/in_times_of_peace.html)* series imagines the life of a drone in a fictional time when war and terror are over. The impossibility of imagining such life is a way of reflecting on the difficulty of envisioning a time of peace. Yet the project takes care of such imagining an impossible future by dignifying a lonely drone which at least tries to do something for itself (such as running a 100 meters race, or taking selfies).
 
-The series [A Contemporary Portrait of the Internet Artist](http://iocose.org/works/a_contemporary_portrait_of_the_internet_artist.html) offers a glimpse on the multiple meanings of making art, nowadays, in the so-called age of the Internet. It also exposes the not so enthusiastic reality of what many artists do nowadays (such as crowd/outsourcing work, working at the boundaries of copyright infringement, exploiting or being exploited by other artists and companies, etc.). The series tries to imagine how such a complex network of relations that come to be associated with 'Internet art' could be represented in a portrait, still using those same numerous forms of production and consumption that online technologies allow.
+The series *[A Contemporary Portrait of the Internet Artist](http://iocose.org/works/a_contemporary_portrait_of_the_internet_artist.html)* offers a glimpse on the multiple meanings of making art, nowadays, in the so-called age of the Internet. It also exposes the not so enthusiastic reality of what many artists do nowadays (such as crowd/outsourcing work, working at the boundaries of copyright infringement, exploiting or being exploited by other artists and companies, etc.). The series tries to imagine how such a complex network of relations that come to be associated with 'Internet art' could be represented in a portrait, still using those same numerous forms of production and consumption that online technologies allow.
 
 The photographic series we created for Silicon Plateau 1, Elevated Bangalore, also reflects these approaches and acts as a proposal for an art after failure. The series is an evidently distorted reportage from the city of Bangalore. In the photos, one sees buildings, vehicles and constructions of different sorts (including the Elevated Highway) stretched towards the sky. It is the dream of an elevated Bangalore that we propose to take as literally as possible, by lengthening (or enlightening, as Microsoft Word's AutoCorrect is now suggesting?) even the most humble rickshaw of the Indian driver who might be dreaming of achieving, one day, the elevation so noticeably promoted by the billboards all over Bangalore.
 
@@ -102,3 +100,8 @@ Quaranta, D. (2015) 'Situating Post Internet', in Media Art. Toward a New Defini
 
 Vierkant, A. (2010) 'The Image Object Post-Internet', available at [artievierkant.com/writing.php](http://www.artievierkant.com/writing.php) [Last accessed 13/03/2015]
 
+---
+
+by [IOCOSE](http://www.iocose.org) (Ruffino P., Cremonesi M., Cuttica F., Prati D.), available online at this [URL](http://iocose.org/art-after-failure/index.html)
+
+*Originally published in Ghidini, M. and Kelton, T. (2015), Silicon Plateau Vol-1, T.A.J. Residency and SKE Projects, Bangalore: India*