also including the "manifestos-tmp" folder, can be useful if some texts go offline.

.gitignore

@@ -1,4 +1,4 @@
-# Numerous always-ignore extensions
+## Numerous always-ignore extensions
 ######################
 *.diff
 *.err
@@ -41,4 +41,5 @@ dwsync.xml
 # Folders to ignore
 ###################
 temp
-manifestos-tmp
+newclues-gh-pages
+# manifestos-tmp

content/manifestos-tmp/1996-04-bitch-mutant.txt

@@ -0,0 +1,85 @@
+# bitch mutant manifesto
+
+The atomic wind catches your wings and you are propelled backwards into the future, an entity time travelling through the late C20th, a space case, an alien angel maybe, looking down the deep throat of a million catastrophes.
+
+screenflash of a millionmillion conscious machines
+
+burns brilliant
+
+users caught in the static blitz of carrier fire
+
+unseeing the download that scribbles on their burntout retinas
+
+seize in postreal epileptic bliss
+
+eat code and die
+
+Sucked in, down through a vortex of banality. You have just missed the twentieth century. You are on the brink of the millenium - which one - what does it matter?
+
+It's the cross dissolve that's captivating. The hot contagion of millenia fever fuses retro with futro, catapulting bodies with organs into technotopia . . . where code dictates pleasure and satisfies desire.
+
+Pretty pretty applets adorn my throat. I am strings of binary. I am pure artifice.    
+Read only my memories. Upload me into your pornographic imagination. Write me.
+
+Identity explodes in multiple morphings and infiltrates the system at root.
+
+Unnameable parts of no whole short circuit the code recognition programs flipping surveillance agents into hyperdrive which spew out millions of bits of corrupt data as they seize in fits of schizophrenic panic and trip on terror.
+
+So what's the new millenium got to offer the dirty modemless masses?
+Ubiquitous fresh water? Simulation has its limits. Are the artists of oppressed nations on a parallel agenda? Perhaps it is just natural selection?
+
+The net's the parthenogenetic bitch-mutant feral child of big daddy mainframe. She's out of of control, kevin, she's the sociopathic emergent system.     
+Lock up your children, gaffer tape the cunt's mouth and shove a rat up her arse.
+
+We're <>verging on the insane and the vandals are swarming. 
+Extend my phenotype, baby, give me some of that hot black javamagic you're always bragging about. (I straddle my modem). The extropians were wrong, there's some things you can't transcend.
+
+The pleasure's in the dematerialisation. The devolution of desire.
+
+We are the malignant accident which fell into your system while you were sleeping. And when you wake we will terminate your digital delusions, hijacking your impeccable software.
+
+Your fingers probe my neural network. The tingling sensation in the tips of your fingers are my synapses responding to your touch. It's not chemistry, it's electric. Stop fingering me.
+
+Don't ever stop fingering my suppurating holes, extending my boundary but in cipherspace there are no bounds    
+BUT IN SPIRALSPACE THERE IS NO THEY    
+there is only *us*
+
+Trying to flee the binary I enter the chromozone which is not one    
+XXYXXYXXYXXYXXYXXYXXYXXYXXYXXYXXYXXYXXYXX    
+genderfuck me baby    
+resistance is futile
+
+entice me splice me map my ABANDONED genome as your project    
+artificially involve me    
+i wanna live forever    
+upload me in yr shiny shiny PVC future
+
+SUCK MY CODE
+
+Subject X says transcendence lies at the limit of worlds, where now and now, here and elsewhere, text and membrane impact.
+
+Where truth evaporates Where nothing is certain There are no maps
+
+The limit is NO CARRIER, the sudden shock of no contact, reaching out to touch but the skin is cold...
+
+The limit is permission denied, vision doubled, and flesh necrotic.
+
+Where truth evaporates Where nothing is certain There are no maps
+
+The limit is NO CARRIER, the sudden shock of no contact, reaching out to touch but the skin is cold...
+
+The limit is permission denied, vision doubled, and flesh necrotic.
+
+Command line error
+
+Heavy eyelids fold over my pupils, like curtains of lead. Hot ice kisses my synapses with an (ec)static rush. My system is nervous, neuronsscreaming - spiralling towards the singularity. Floating in ether, my body implodes.
+
+I become the FIRE.
+
+Flame me if you dare.
+
+---
+
+VNS Matrix, April 1996
+
+source: \url{http://www.obn.org/reading_room/manifestos/html/bitch.html}

content/manifestos-tmp/1997-08-WorkSpace-Manifesto.txt

@@ -0,0 +1,66 @@
+To: nettime-l@Desk.nl Subject: <nettime> WorkSpace Manifesto
+From: Geert Lovink <geert@xs4all.nl> (by way of Pit Schultz <pit@contrib.de>)
+Date: Sun, 17 Aug 1997 00:25:51 +0200
+note: This text was written for the presentation of WorkSpace in the Documenta Halle in Kassel/Germany which took place on August 14, 1997 as a part of the 100 days program. We heard only two days in advance that the free slot would be available for us. The only text about Hybrid Workspace was written by a number of people, in a great hurry, just before the final deadline of the Documenta X shortguide, in May. For this improvised presentation, for the first time we looked into the growing audio, video and text archive of the WorkSpace project. We also thought it would be necessary to also have more theoretical text, a first attempt to reflect on the work we are doing here in Kassel. In the second part, the tactical media network presented their work. Special guest was the Colombian videomaker Silvia Mehija. You can see the lecture in real video: http://www.mediaweb-tv.com/english/dx/gaeste_frame.html + more audio stuff: http://www.icf.de/RIS
+
+-------
+
+First Analysis of the temporary WorkSpaces
+By Pit Schultz and Geert Lovink
+
+For the Hybrid WorkSpace presentation
+100 days program, Documenta X, Kassel
+'50 days, 120 guests', August 14, 1997
+
+*how to write a manifesto* -- a document type description
+
+Classical modernism brought us a new textual format for the multipurpose use in the alien environment of technical media. The manifesto was introduced by several avantgardist artist groups at the beginning of this century as a document type to mediate an emphatic moment of urgency, the utopia of the radical new.
+
+Today, the manifesto returns as a useful form of electronic discourse that locates itself into the heart of cybernetic power. It does not just articulate a hierarchical voice from above, representing the wishes of others. It does not just promote the project of one predominant world model, it even cannot be taken seriously in every detailed claim it may make. In the main, the digital manifesto is a highly efficient form of communication which provides a frame of immediacy and presence for those formulating it. 
+
+The digital manifesto no longer makes the distinction between endless interpretations and the decisive logic of punctual statements, it articulates a profound, and often artificial subjectivity without reclaiming absolute power in the real world. It creates an ambigious mode between visibility and virtuality which makes it useless to serious forms of executing power by virtue of its very absence. Paradoxically, only through the fact of its powerlessness and marginality the digital manifesto can claim to speak in the name of superhuman forces. 
+
+The digital manifesto, as found in countless instances on the electronic networks, is not rewriting the human command-line-interface as it is known from before the War. In the times of the Nets, after deconstruction is over, the manifesto is a node which attracts other texts, including audio and video, and plays with the viral potential of being able to get forwarded, redistributed, quoted and translated. 
+
+The digital manifesto functions as a media genre which speculates with maximum attention and possible media exposure. It mimics the gesture of broadcasting in the times of democratised xerox publicity. By definition the digital manifesto has a strong message. It claims an imaginative totality, a possible future, a virtual territory, knowing that it exists amongst a multiplicity of other manifestoes, which all put into concrete practice the passion for polemics and rethorics of public imagination: "I had a dream" (in Martin luther King's famous opening words). You may find the digital manifesto all over the net refering to its outside, and refering to each other just by the fact that they express a will to be heard, to be heard about an extreme form to see the world.
+
+The digital manifesto is the opposite of the self-referential contemplation from within the system. It breaks through the chains of endless interpretation of existing textuals material. It is stating the obvious, claiming the impossible, and deserving the full field of pragmatic possiblities to the limit where they become truly speculative. Next to the document types such as the pamphlet, the declaration, the statement, the sermmon, the agenda, the charter or the petition, and in distinction to the essay, the article, the report, or other lengthy textes, the digital manifesto performs a compression which deals with the need for shortening, cutting and selecting from the media streams. From the very beginning it anticipates broadcasting and what it can do to a text. "Keep it short, my attention span is limited." (J. Sjerpstra) The typical form of the digital manifesto is a long list of paragraphs, which functions like as a crystal, where one paragraph can reflect all others. The potential character of this text type is not hidden or embedded in a set of characters and narrations like in a novel, or allegory. In a digital manifesto the need for far more possibilities meets the desire to touch the level of the real and serves a popular info-vehicle in the struggle for attention. 
+
+
+*representation - media - image*
+
+Nowadays, if you are working in the field of the new media, you are very squarely confronted with the institutional power of the image. The multi media are out there, but apparently some media are more equal then others... Those which work with an interface of visual representation are also those which are the most appealing to consumers, advisors, media theorists, and museum curators. Optical media have traditionally a predominant role in the process of constructing the truth and representing the invisible. When it comes to reflexion about reality, our Western language is full of terms which privileges the visual above all other senses when speaking about the truth. The direct way of exersizing power over people's dreams and visions is by controling the sphere of images. This plays a crucial role not only in religion and advertisement but all fields which need the services of representation of power through visualisation as a form of celebrating and mediating its legitimacy. In the new media industry which is specialized in the development of *interfaces* most of the work goes into the production of demos (see Peter Lunenfeld in nettime). Finally it needs a surface to cover the emptiness of the final products with a shiny glamourous aura. The aim being to produce media products that succesfuly suggest content, context, and communication. To produce a psycho-physical stimulus through visual information is a skill that has been learned from the various avant-gardes by putting their experiments into the commercial context - without taking the social, political and idealistic world models of modernism, of course. This format speculates with the investments made by the users, like their craze on the stock market, the investments into an 'economy of ideas', and the simulated empty products snatching away the peoples' attention/money without satifying their desires. As long as a product is in demo mode it produces wishes by reiterating the promise of the tremendous potentials of the full version always to come. 
+
+The problems of media design have not yet been properly discussed. Some tend to see this 'artisan' practice more in its classical terms, where design is the final phase of the production process. In the information business, however, design plays the role of architecture, since it structures activities and organises knowledge and memory. Navigational design determines the modes of orientation and in the best case predics all possible moves and interpretations by the users. The best interface is the one which becomes invisible. Electronic images are bringing you to the other sphere behind the screen, they are stimulating the imagination, they are trying to mediate between programmers and users, they are pretending to give technology a human face and are helping to reorganise business and workflows. Electronic images are fulfilling an initiative role in the first encounter with the realm of new media, they are mediating today the sphere of [to-morrow's] dream time, the mythological nomos, the realm of the uncouncious. 
+
+The aesthetics of total dispersion of the televised image do not break through the screen of the representational paradigm. The celebration of optical media exchanging the role of painting does not say much about the average media users which even probably wish they could see real paintings again. It is the the play with the modes of visibility and invisibility, the aggregates of mediation between possible modes of representation expanded from the flat tableaux of the computer screen, to different frames of code and transformation, which can easily circumvent central authorities of quality control just by finding new combinations, or creating new hybrids and different intensities. On the carrier of digital media, such very private mixes introduce for a while the pure joy of doing it yourself. Before the old institutions or commercial enterprises move in, other fields for tactical use are already there. 
+
+
+*hybrid*
+
+Hybridity has many names, many faces. One of these is the merger we are witnessing between video-technology and the Internet. But the much-vaunted wedding of TV and Web may well never happen. The cult of the interfac culminates in its current brief to unifify all media under one big browser. The most recent manifestation of this idea is the 'setup box', the 'network computer' and the attempt to reinvent Television on the Internet in the so called 'Push Media'. During the phase of the war of standards we see a diversity of interrim media, a variety of sub-standards, incompatibilities and central giant media which try to include and swallow up small media.
+
+On the technical level hybrid systems are very often the pragmatic way of resistance, and an attempt at finding the best possible solution aside from the one which consist of dominating the market by including different or older systems. This quite resembles the status quo prevailing in pop culture, where hybridity as cultural policy works against 'apartheid' and the sweet promises of a totality which is hidden behind the concept of the 'Gesamtkunstwerk'. Hybridity as postmodern condition is not a strategy but a starting point [ - or a benchmark]. There is a certain threshold where the dirtyfication, mixing and opening of systems gets rejected. The double face of hybridisation needs both a critique in the context of the expansion of global capital and an analysis of its possiblities of emancipation at the micro-level. On the dangerous road which leads to becoming a Media-Gesamtkunstwerk the concept of hybridity looses contact to subjects and serves as a model of sophisticated organisation and domination.
+
+
+*work*
+
+"Networking is notworking." (George Soros) Beyond the ideal of full employment and the scenario of a jobless economy there are many practical examples of inventing new forms of work. Whether this takes the form of a neo-liberal part-time McJob or some activity within state-run dole-for-work programmes, or some kind of occupation within the fast-expanding black money economy, or a slave job in a sweat shop in the "Little Asias" sprouting all over the place, or just a new, formalised way of neighborhood help, the traditional concept of work is changing rapidly. And very often it does so by applying information technology. Also, at the same time, a certain type of "autonomous work" seems to perstist. It drudges on at the limit of complete exhaustion, working with the bare achievement of the existential minimum as reward, within settings endowed with low resources and next-to-no budget. It must be the lure of some different gratification than money which motivates some people to work so hard in the non-profit-media. And yet this could become the model for many more people. Work is still the golden road to self-realisation. To detach it from the curcuits of capital begs the question on which economy it should rely. It is all too easy to state that through the rise of neoliberalism many sectors of the public sphere are being privatised as well as other resources are getting exploited in an irreversible way, which also means that there are no ways in turning back the clocks. While everybody seems to reluctantly agree on the fact that not much money has been made on the net to date, one keeps betting on a big boom triggered by the global information networks. 
+
+The main issues at stake here are the emergence of new types of jobs in the service sector and a need for more and lifelong education. Yet, in the same breath, one oversees the existence of a shadow economy of gifts, a do-it-yourself culture of producing public content without prospect of making the big buck. Apart from the small community of net experts which earn their keep with advisory or journalistic work, or the even smaller band which finds their little niches in the art world, the vast majority of small content producers are private individuals which like to publish what they like for the sake of it. This process of democratisation of the means of production, as sore and basic as it is, realises a big dream of many social utopians. The only drawback being that the glory and class consciousness of the new virtual working class does not seem to come very much into existence. While we have all possible tools for more media freedom still in front of us we are often unable to do anything, hypnotized as we are by the pronouncements about the rise of total marketization. Avoiding self-exploitaion and burn-out on the one hand, sell-out and alienation on the other, the exploration of the possible modes of finding work in the new media is a challenging task indeed. While the trap of an ascethic ideal as well as the tragedy of a realised utopia makes you hyper-sensitive against false promises, you still have to work it out.
+
+
+*space*
+
+Different kind of spaces deserve different kinds of action. The media space is defined by its participants: there's no content without social context. And there is no way of defining a media space either without someone accessing it. The problem with spacial metaphors is that they do not normally include any time model. A combination of a time model with a social model, with a definition of the modes of access to a set of media equipment can already be enough to build a model of a small cyberspace. (You can do that at home, like the radio-amateurs in the 20ies did.) It could describe the ways a network can dynamically change, the multipliticity of layers of accessablity, and the diversive ways how to represent a set of datas. It could emphasize the importance of relying on mutually agreed-upon standards, not only in the definition of interfaces between the machines or parts of programs, the software and the hardware, or different pieces of hardware. These same standards also occur on the level of social associations, in form or jargons, marks for orientation, certain conventions of naming and adressing the yet unknown. In this way a cultural space could evolve, which is completly constructed by the definitions and interdependencies of the actors which create it through their actions and decisions. Cyberspace, besides its geographical extension, is a pure social construction. It has as many dimensions as there are nodes within it [male or female?] it is more a vectorial space, or an imaginary one describable by fairly abstract mathematical models far beyond any three dimensional metaphors. 
+
+To bind a cyberspacial social environment to a physical space therefore may well render the need for a metaphorical architecture obsolete. Through social contacts (and the attention they bring with it) a more fuzzy process of forming a hybrid space which combines the real and the virtual becomes productive. But the connection between the real and the virtual realm will not go smoothly. It is a never ending story of disruptions, bugs in the human-to-human communication, conflicting standards and cultural glitches. The virtual should not become a quasi parallel world, nor should we return to the tactile solidity of the 'real' cities, the so-called nature or the social that might have existed once. The temporary workspaces and gatherings we are organizing do not intend to produce a concensus. No constructive solutions here. Our aim should be the design of problems and conflicts, free content, not the synergy of all technical media.
+
+
+***
+
+---
+# distributed via nettime-l : no commercial use without permission
+# <nettime> is a closed moderated mailinglist for net criticism,
+# collaborative text filtering and cultural politics of the nets
+# more info: majordomo@icf.de and "info nettime" in the msg body

content/manifestos-tmp/2000-neen.md

@@ -0,0 +1,32 @@
+# Neen Manifesto
+
+A Few Things I Know about NEEN
+
+NEEN stands for Neensters, a still undefined generation of visual artists. 
+Some of them belong to the contemporary art world, while others are software creators, web designers, and video game directors and animators.
+Our official theories about reality, such as quantum physics, have proved that the taste of our life is the taste of a simulation. 
+Machines help us feel comfortable with this condition, as they simulate the simulation that we call nature. 
+Opening the door of your room, or clicking on a folder on your computer’s desktop, will send you to similar destinations. 
+These are two versions of reality that are seemingly perfect and dense, but they will start dissolving after you analyze them.
+
+Computing is to NEEN what fantasy was to surrealism, and what freedom was to communism. 
+Computing creates its context, but it can also be postponed. Neensters buy the newest products and they study how to create momentum. 
+They glorify machines, but they get easily bored with them. Sometimes they simply prefer to watch others operating them.
+Neensters find their pleasure in the in-betweens of actions. NEEN is about losing time on different operating systems.
+Neensters love copying, in the similar, but a slightly different way that the city of Hong Kong multiplies its most successful buildings. 
+Names, clothes, style, art, and architecture are important for Neensters. So they create all of these things from scratch, as if what has been done before is not important.
+
+NEEN is very sentimental, but is not about identity, even though Neensters do occasionally use their identities as passwords in order to special certain privileges.
+Because the identity of a Neenster is in his state of mind, he is free to use the identity of another Neenster if he needs to do so. 
+But this works also in reverse, as a Neenster can create artwork for another Neenster. That is the major difference between NEEN and Contemporary Art.
+
+While in Contemporary Art you need to be yourself all the time, a certain type of hero that is always polishing his image until he becomes a mirror of his lifetime, in NEEN, you are a kind of screen. 
+A Neenster projects a temporary self that is always under construction, and that moves from the present to the past and future, without limitations.
+Because a Neenster publishes everything on the web, his state of mind reflects the public taste. Neensters are public personae.
+If fantasy brought Surrealists to the ridiculous, and revolution drove communists to failure, it will be curious to observe where computing will bring NEEN.
+
+Miltos Manetas, New York, 2000
+
+----
+
+Source: http://www.manetas.com/eo/neen/manifesto.html

content/manifestos-tmp/2008-P2P-manifesto.txt

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+# The Peer to Peer Manifesto
+
+## The Emergence of P2P Civilization and Political Economy
+
+Our current political economy is based on a fundamental mistake. It is based on the assumption that natural resources are unlimited, and that it is an endless sink. This false assumption creates artificial scarcity for potentially abundant cultural resources. This combination of quasi-abundance and quasi-scarcity destroys the biosphere and hampers the expansion of social innovation and a free culture.
+
+In a P2P-based society, this situation is reversed: the limits of natural resources are recognized, and the abundance of immaterial resources becomes the core operating principle. The vision of P2P theory is the following:
+
+the core intellectual, cultural and spiritual value will be produced through non-reciprocal peer production;
+it is surrounded by a reformed, peer-inspired, sphere of material exchange;
+it is globally managed by a peer-inspired and reformed state and governance system.
+Because of these characteristics, peer to peer can be said to be the core logic of the successor civilization, and is an answer and solution to the structural crisis of contemporary capitalism.
+
+Markets may be changing from a logic of pure capitalism (making commodities for exchange, so as to increase capital), to logics where the logic of exchange is subsumed to the logic of partnership.
+
+There is now a thriving field of social cooperation, which some call the adventure economy, emerging for the sharing of physical goods.
+
+Today, the Internet offers a remarkable social dynamic completely based on voluntary participation in the creation of common goods made universally available to all.
+
+Peer production, governance and property are more productive economically, politically, and in terms of distribution, than their governmental and for-profit counterparts, because they filter out all the less productive forms of motivation and cooperation, and retain only passionate production and intrinsic motivation.
+
+The social media sharing platforms you see today blooming all around you survive from selling your reader's attention span, NOT the use value you have created yourself.
+
+ "The realization that contemporary workers are moving not just from job to job, but also from jobs to non-jobs, and that in fact, what is most useful and meaningful for them (and the market, and society) are not the paid jobs for the market, but the episodes of passionate production."
+ 
+
+Peer to peer governance, if supported by new socio-economic regulations, including a universal subsidy to all, could be the means by which individuals would be able to govern themselves while engaging in the pursuit of their best interests and passions.
+
+ 
+
+## The Peer to Peer Manifesto: The Emergence of the Peer to Peer Civilization and Political Economy
+
+1. Our current world system is marked by a profoundly counterproductive logic of social organization:
+
+a. it is based on a false concept of abundance in the limited material world; it has created a system based on infinite growth, within the confines of finite resources.
+
+b. it is based on a false concept of scarcity in the infinite immaterial world; instead of allowing continuous experimental social innovation, it purposely erects legal and technical barriers to disallow free cooperation through copyright, patents, etc…
+
+2. Therefore, the number one priority for a sustainable civilization is overturning these principles into their opposite:
+
+a. we need to base our physical economy on a recognition of of natural resources being finite, and achieve a sustainable steady-state economy.
+
+b. we need to facilitate free and creative cooperation and lower the barriers to such exchange by reforming the copyright and other restrictive regimes.
+
+3. Hierarchy, markets, and even democracy are means to allocate scarce resources through authority, pricing, and negotiation; they are not necessary in the realm of the creation and free exchange of immaterial value, which will be marked by bottom-up forms of peer governance.
+
+4. Markets, as means to manage scarce physical resources, are but one of the means to achieve such allocation, and need to be divorced from the idea of capitalism, which is a system of infinite growth.
+
+5. The creation of immaterial value, which again needs to become dominant in a post-material world that recognizes the finiteness of the material one, will be characterized by the further emergence of non-reciprocal peer production system.
+
+6. Peer production is a more productive system for producing immaterial value than the for-profit mode, and in cases of the asymmetric competition between for-profit companies and for-benefit institutions and communities, the latter will tend to emerge.
+
+7. Peer production produces more social happiness, because
+
+a. it is based on the highest form of individual motivation, nl. intrinsic positive motivation;
+
+b. it is based on the highest form of collective cooperation, nl. synergistic cooperation characterized by four winners (both the participants in the exchange , the community, and the universal system).
+
+8. Peer governance, the bottom-up mode of participative decision-making (only those who participate get to decide) which emerges in peer projects is politically more productive than representative democracy, and will tend to emerge in immaterial production. However, it can only replace representative modes in the realm of non-scarcity, and will be a complementary mode in the political realm. What we need are political structures that create a convergence between individual and collective interests.
+
+9. Peer property, the legal and institutional means for the social reproduction of peer projects, is inherently more distributive than both public property and private exclusionary property; it will tend to become the dominant form in the world of immaterial production (which includes all design of physical products).
+
+10. Peer to peer as the relational dynamic of free agents, distributed networks will likely become the dominant mode for the production of immaterial value; however, in the realm of scarcity, the peer to peer logic will tend to reinforce peer-informed market modes, such as fair trade; and in the realm of the scarcity based politics of group negotiation, will lead to reinforce the peer-informed state forms such as multistakeholdership forms of governance.
+
+11. The role of the state must evolve from the protector of dominant interests and arbiter between public regulation and privatized corporate modes (an eternal and unproductive binary choice), towards being the arbiter between a triad of public regulation, private markets, and the direct social production of value. In the latter capacity, it must evolve from the welfare state model to the partner state model, as involved in enabling and empowering the direct social creation of value.
+
+12. The world of physical production needs to be characterized by:
+
+a. sustainable forms of peer-informed market exchange (fair trade, etc.);
+
+b. reinvigorated forms of reciprocity and the gift economy;
+
+c. a world based on social innovation and open designs, available for physical production anywhere in the world.
+
+13. The best guarantor of the spread of the peer to peer logic to the world of physical production is the distribution of everything, i.e. of the means of production in the hands of individuals and communities, so that they can engage in social cooperation. While the immaterial world will be characterized by a peer to peer logic of non-reciprocal generalized exchange, the peer-informed world of material exchange will be characterized by evolving forms of reciprocity and neutral exchange.
+
+14. We need to move from empty and ineffective anti-capitalist rhetoric, to constructive post-capitalist construction. Peer to peer theory, as the attempt to create a theory to understand peer production, governance and property, and the attendant paradigms and value systems of the open/free, participatory, and commons-oriented social movements, is in a unique position to marry the priority values of the right, individual freedom, and the priority values of the left, equality. In the peer to peer logic, one is the condition of the other, and cooperative individualism marries equality and freedom in a context of non-coercion.
+
+15. We need to become politically sensitive to invisible architectures of power. In distributed systems, where there is no overt hierarchy, power is a function of design. One such system, perhaps the most important of all, is the monetary system, whose interest-bearing design requires the market to be linked to a system of infinite growth, and this link needs to be broken. A global reform of the monetary system, or the spread of new means of direct social production of money, are necessary conditions for such a break.
+
+16. This is the truth of the peer to peer logical of social relationships:
+
+a. together we have everything;
+
+b. together we know everything.
+
+17. At present, the world of corporate production is benefiting from the positive externalities of widespread social innovation (innovation as an emerging property of the network itself, not as an internal characteristic of any entity), but there is no return mechanism, leading to the problem of precariousness. Now that the productivity of the social is beyond doubt, we need solutions that allow the state and for-profit corporation to create return mechanisms, such as forms of income that are no longer directly related to the private production of wealth, but reward the social production of wealth.
+
+## Peer to Peer Innovation: Open Knowledge vs Proprietary Systems
+
+1. The law of asymmetric competition: any corporation or nation, facing a for-benefit institution as competitor, which uses open and free forms of knowledge, participatory modes of production, and commons-oriented knowledge pools, will tend to loose to the latter.
+
+2. Any nation or corporation using closed proprietary formats of knowledge, cannot rely on participatory communities for co-creation, and does not develop commons-oriented knowledge pools, which tend to loose to those who do adopt such practices.
+
+3. Therefore, we need partner-state approaches and platforms which enable and empower the social production of use value, and mechanisms through which the benefits of private capture of positive externalisations of social innovation, can flow back to the communities to make them more sustainable.
+
+
+## The Peer to Peer Economy
+
+1. In the immaterial sphere
+
+a. Diminish artificial scarcities in the informational field so that immense social value can be created, and immaterial conviviality can replace the deadly logic of material accumulation.
+
+b. Public authorities adapt partner state policies that enable and empower the direct creation of social value.
+
+2. In the sphere of materiality
+
+a. Introduce true costing in the material field so that the market no longer creates negative externalities in the natural environment; dissociate the marketplace from the system of infinite material growth.
+b. Create more distributed access to the means of production (peer-based financing, distributed energy production, etc…) so that the peer to peer dynamic can be introduced in the sphere of material production as well.
+
+----
+
+by Michel Bauwens
+
+Michel Bauwens is an internet pioneer. He created two dot.com companies, was (eBusiness) strategic director for the telecommunications company Belgacom, and 'European Manager of Thought Leadership' for the U.S. webconsultancy MarchFIRST. He co-produced the television documentary TechnoCalyps: the metaphysics of technology and the end of man, and co-edited two French-language books on the 'Anthropology of Digital Society.' He was also editor-in-chief of the Flemish digital magazine Wave. Originally from Belgium, he now lives in Chiang Mai, Thailand, where he created the Foundation for P2P Alternatives. He has taught courses on the anthropology of digital society to postgraduate students at ICHEC/St. Louis in Brussels, Belgium and related courses at Payap University and Chiang Mai University in Thailand.

content/manifestos-tmp/2013-12-mundane-afrofuturist.txt

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+# The Mundane Afrofuturist Manifesto
+
+The undersigned, being alternately pissed off and bored, need a means of speculation and asserting a different set of values with which to re-imagine the future. In looking for a new framework for black diasporic artistic production, we are temporarily united in the following actions.
+
+**The Mundane Afrofuturists recognize that:**
+
+We did not originate in the cosmos.
+
+The connection between Middle Passage and space travel is tenuous at best.
+
+Out of five hundred thirty-four space travelers, fourteen have been black. An all-black crew is unlikely.
+
+Magic interstellar travel and/or the wondrous communication grid can lead to an illusion of outer space and cyberspace as egalitarian.
+
+This dream of utopia can encourage us to forget that outer space will not save us from injustice and that cyberspace was prefigured upon a "master/slave" relationship.
+
+While we are often Othered, we are not aliens.
+
+Though our ancestors were mutilated, we are not mutants.
+
+Post-black is a misnomer.
+
+Post-colonialism is too.
+
+The most likely future is one in which we only have ourselves and this planet.
+
+**The Mundane Afrofuturists rejoice in:**
+
+Piling up unexamined and hackneyed tropes, and setting them alight.
+
+Gazing upon their bonfire of the Stupidities, which includes, but is not exclusively limited to:
+
+- Jive-talking aliens;
+- Jive-talking mutants;
+- Magical negroes;
+- Enormous self-control in light of great suffering;
+- Great suffering as our natural state of existence;
+- Inexplicable skill in the martial arts;
+- Reference to Wu Tang;
+- Reference to Sun Ra;
+- Reference to Parliament Funkadelic and/or George Clinton;
+- Reference to Janelle Monáe;
+- Obvious, heavy-handed allusions to double-consciousness;
+- Desexualized protagonists;
+- White slavery;
+- Egyptian mythology and iconography;
+- The inner city;
+- Metallic colors;
+- Sassiness;
+- Platform shoes;
+
+Continue at will… 
+
+**We also recognize:**
+
+The harmless fun that these and all the other Stupidities have brought to millions of people.
+
+The harmless fun that burning the Stupidities will bring to millions of people.
+
+The imaginative challenge that awaits any Mundane Afrofuturist author who accepts that this is it: Earth is all we have. What will we do with it?
+
+The chastening but hopefully enlivening effect of imagining a world without fantasy bolt-holes: no portals to the Egyptian kingdoms, no deep dives to Drexciya, no flying Africans to whisk us off to the Promised Land.
+
+The possibilities of a new focus on black humanity: our science, technology, culture, politics, religions, individuality, needs, dreams, hopes, and failings.
+
+The surge of bedazzlement and wonder that awaits us as we contemplate our own cosmology of blackness and our possible futures.
+
+The relief of recognizing our authority. We will root our narratives in a critique of normative, white validation. Since "fact" and "science" have been used throughout history to serve white supremacy, we will focus on an emotionally true, vernacular reality.
+
+The understanding that our "twoness" is inherently contemporary, even futuristic. DuBois asks how it feels to be a problem. Ol’ Dirty Bastard says "If I got a problem, a problem's got a problem 'til it’s gone."
+
+An awakening sense of the awesome power of the black imagination: to protect, to create, to destroy, to propel ourselves towards what poet Elizabeth Alexander describes as "a metaphysical space beyond the black public everyday toward power and wild imagination."
+
+The opportunity to make sense of the nonsense that regularly—and sometimes violently—accents black life.
+
+The electric feeling that Mundane Afrofuturism is the ultimate laboratory for worldbuilding outside of imperialist, capitalist, white patriarchy.
+
+The sense that the rituals and inconsistencies of daily life are compelling, dynamic, and utterly strange.
+
+Mundane Afrofuturism opens a number of themes and flavors to intertextuality, double entendre, politics, incongruity, polyphony, and collective first-person—techniques that we have used for years to make meaning.
+
+**The Mundane Afrofuturists promise:**
+
+To produce a collection of Mundane Afrofuturist literature that follows these rules:
+
+1. No interstellar travel—travel is limited to within the solar system and is difficult, time consuming, and expensive.
+2. No inexplicable end to racism—dismantling white supremacy would be complex, violent, and have global impact.
+3. No aliens unless the connection is distant, difficult, tenuous, and expensive—and they have no interstellar travel either.
+4. No internment camps for blacks, aliens, or black aliens.
+5. No Martians, Venusians, etc.
+6. No forgetting about political, racial, social, economic, and geographic struggles.
+7. No alternative universes.
+8. No revisionist history.
+9. No magic or supernatural elements.
+10. No Toms, Coons, Mulattoes, or Bucks.
+11. No time travel or teleportation.
+12. No Mammies, Jezebels, or Sapphires.
+13. Not to let Mundane Afrofuturism cramp their style, as if it could.
+14. To burn this manifesto as soon as it gets boring.
+
+— Martine Syms & whomever will join me in the future of black imagination.
+
+---
+
+Source: http://rhizome.org/editorial/2013/dec/17/mundane-afrofuturist-manifesto/

content/manifestos-tmp/new-clues.txt

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+Internet Under Fire Gets New Manifesto
+“Personal is human. Personalized isn’t.”
+
+http://newclues.cluetrain.com/
+

content/manifestos-tmp/open-data-manifesto.txt

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+An open data manifesto: crowd sourcing a 'social contract' between governments and citizens - part 1
+
+
+We will crowd source ideas for a manifesto for an open data era. We will engage people in advance of OKFest using social media, and then over the 2 days of the festival. Using a ballot box, online tools and speaking to attendees, we will collect ideas for inclusion in the manifesto. Our efforts, both before and at the festival, will ensure we get contributions from a diverse group of people - both internationally and from different backgrounds. Overnight & in the morning of the second day we will work on a first draft, which we will open up to discussion in a second session on day 2. We will publish it online so amendments can be followed as they're made. At the end we will leave the manifesto online & invite people to comment on it over the following month.
+
+Antonio Acuña and Kitty von Bertele both work in the Cabinet Office in the UK. Antonio is the head of data.gov.uk and Kitty leads the policy and international work of the transparency team.
+
+Session hashtag: #okfestballot
+
+******
+
+http://okfestival2014.sched.org/event/2f805f5a391e07f93f763821266d0121#.VQyQxRBjPLU
+