Updating info for The Wireless Commons Manifesto

Based on input by manifesto author @adamshand – see issue #43

.gitignore

@@ -1,4 +1,4 @@
-# Numerous always-ignore extensions
+## Numerous always-ignore extensions
 ######################
 *.diff
 *.err
@@ -41,4 +41,6 @@ dwsync.xml
 # Folders to ignore
 ###################
 temp
-manifestos-tmp
+newclues-gh-pages
+output
+# manifestos-tmp

LICENSE.txt

@@ -0,0 +1,17 @@
+# Licence for Manifestos for the Internet Age
+
+This book is *a collection* of writings. 
+
+## Licence of included texts
+
+Each text in this collection has it's own specific licence, defined by it's author(s).
+
+## Licence of the collection as a whole
+
+The collection as a whole (a collection has it's own copyright status in most juridictions) is released under CC-Zero.
+
+This means that the project can be widely re-used and adapted: You can make your own version of it! No need to ask me for permission.
+
+Of course, you must consider the licence of each included text.
+
+***

README.md

@@ -2,6 +2,10 @@
 
 A collection of manifestos for the internet age.
 
+The URL of this repository is: [https://github.com/greyscalepress/manifestos](https://github.com/greyscalepress/manifestos)
+
+![](images/manifestos-amazon-page.png)
+
 You can obtain a printed version on [Amazon.com](http://www.amazon.com/Manifestos-Internet-Age-Various/dp/2940561028/), also on [Amazon UK](http://www.amazon.co.uk/Manifestos-Internet-Age-Various/dp/2940561028/), [Germany](http://www.amazon.de/Manifestos-Internet-Age-Various/dp/2940561028/), [France](http://www.amazon.fr/Manifestos-Internet-Age-Various/dp/2940561028/), [Spain](http://www.amazon.es/Manifestos-Internet-Age-Various/dp/2940561028/).
 
 ## Format
@@ -27,7 +31,7 @@ See [content/manifestos/9999-end.txt](content/manifestos/9999-end.txt)
 
 ## Software used
 
-Here is what you need to install in order to compile the book.
+Here is what you need to install in order to compile the book:
 
 ### Pandoc
 
@@ -43,43 +47,43 @@ Installer for Mac OSX: BasicTeX
 
 The package I am using: basictex-20150613.pkg
 
-### flushend.sty
+### flushend.sty
 
 This is a Latex extension that we use. It needs to be installed.
 
 The method I used to install it: running this in the command line:
 
-sudo tlmgr install sttools
+```sudo tlmgr install sttools```
 
-### titlesec.sty
+### titlesec.sty
 
 Another package we need to install...
 
-Command:
-sudo tlmgr install titlesec
+Command:    
+```sudo tlmgr install titlesec```
 
 The titlesec package allows basic changes to the standard chapter style, including setting the font style and size or placement of the title.
 
 ### tocloft.sty
 
-We want to control the Table of Contents: \usepackage{tocloft}
+We want to control the Table of Contents: ```\usepackage{tocloft}```
 
-Command:
-sudo tlmgr install tocloft
+Command:   
+```sudo tlmgr install tocloft```
 
 
-## Troubleshooting
+## Troubleshooting
 
 Errors that can occur during compilation:
 
-! Undefined control sequence.
-l.719 \tightlist
+```! Undefined control sequence.
+l.719 \tightlist```
 
-! Undefined control sequence.
-l.4428 \afterpage
+```! Undefined control sequence.
+l.4428 \afterpage```
 
-! LaTeX Error: \chaptermark undefined.
-= is linked to the fancyhdr package.
-I'll hazard a guess: You are using a document class without the \chapter command (article, scrartcl, ...)
-Solution: we need to use the "book" document class
+```! LaTeX Error: \chaptermark undefined.```
+
+This error is linked to the fancyhdr package, and is caused by using a document class without the \chapter command (article, scrartcl, ...).    
+**Solution:** we need to use the "book" document class
 

TODO.md

@@ -7,7 +7,7 @@ Communication:
 
 Editorial:
 - Write an introduction
-- Create a Biographies section
+- Create a Biographies section?
 - Maybe some interviews? With Gordan Savicic?
 Design:
 More manifestos:

content/intro.txt

@@ -10,8 +10,11 @@ Built with Markdown, Pandoc and TeX\\*
 Cover designed with Scribus
 
 Typefaces\\*
-Cover: Limousine, by OSP Foundry\\*  
-Interior: Monoid, by Andreas Larsen
+Cover:\\*
+Crickx, by OSP Foundry\\*  
+Interior:\\*
+HK Grotesk, by Alfredo Marco Pradil\\*
+Linux Libertine, by Philipp H. Poll
 
 Greyscale Press\\*
-ISBN-13: 978-2-940561-02-5
+ISBN-13: 978-2-940561-04-9

content/manifestos-tmp/1992-crypto-anarchist.md

@@ -0,0 +1,20 @@
+# The Crypto Anarchist Manifesto
+
+A specter is haunting the modern world, the specter of crypto anarchy.
+
+Computer technology is on the verge of providing the ability for individuals and groups to communicate and interact with each other in a totally anonymous manner. Two persons may exchange messages, conduct business, and negotiate electronic contracts without ever knowing the True Name, or legal identity, of the other. Interactions over networks will be untraceable, via extensive re- routing of encrypted packets and tamper-proof boxes which implement cryptographic protocols with nearly perfect assurance against any tampering. Reputations will be of central importance, far more important in dealings than even the credit ratings of today. These developments will alter completely the nature of government regulation, the ability to tax and control economic interactions, the ability to keep information secret, and will even alter the nature of trust and reputation.
+
+The technology for this revolution--and it surely will be both a social and economic revolution--has existed in theory for the past decade. The methods are based upon public-key encryption, zero-knowledge interactive proof systems, and various software protocols for interaction, authentication, and verification. The focus has until now been on academic conferences in Europe and the U.S., conferences monitored closely by the National Security Agency. But only recently have computer networks and personal computers attained sufficient speed to make the ideas practically realizable. And the next ten years will bring enough additional speed to make the ideas economically feasible and essentially unstoppable. High-speed networks, ISDN, tamper-proof boxes, smart cards, satellites, Ku-band transmitters, multi-MIPS personal computers, and encryption chips now under development will be some of the enabling technologies.
+
+The State will of course try to slow or halt the spread of this technology, citing national security concerns, use of the technology by drug dealers and tax evaders, and fears of societal disintegration. Many of these concerns will be valid; crypto anarchy will allow national secrets to be trade freely and will allow illicit and stolen materials to be traded. An anonymous computerized market will even make possible abhorrent markets for assassinations and extortion. Various criminal and foreign elements will be active users of CryptoNet. But this will not halt the spread of crypto anarchy.
+
+Just as the technology of printing altered and reduced the power of medieval guilds and the social power structure, so too will cryptologic methods fundamentally alter the nature of corporations and of government interference in economic transactions. Combined with emerging information markets, crypto anarchy will create a liquid market for any and all material which can be put into words and pictures. And just as a seemingly minor invention like barbed wire made possible the fencing-off of vast ranches and farms, thus altering forever the concepts of land and property rights in the frontier West, so too will the seemingly minor discovery out of an arcane branch of mathematics come to be the wire clippers which dismantle the barbed wire around intellectual property.
+
+Arise, you have nothing to lose but your barbed wire fences!
+
+---
+
+Timothy C. May    
+22 Nov 1992
+
+Source: http://www.activism.net/cypherpunk/crypto-anarchy.html

content/manifestos-tmp/1993-cypherpunks.md

@@ -0,0 +1,34 @@
+# A Cypherpunk's Manifesto
+
+Privacy is necessary for an open society in the electronic age. Privacy is not secrecy. A private matter is something one doesn't want the whole world to know, but a secret matter is something one doesn't want anybody to know. Privacy is the power to selectively reveal oneself to the world.
+
+If two parties have some sort of dealings, then each has a memory of their interaction. Each party can speak about their own memory of this; how could anyone prevent it? One could pass laws against it, but the freedom of speech, even more than privacy, is fundamental to an open society; we seek not to restrict any speech at all. If many parties speak together in the same forum, each can speak to all the others and aggregate together knowledge about individuals and other parties. The power of electronic communications has enabled such group speech, and it will not go away merely because we might want it to.
+
+Since we desire privacy, we must ensure that each party to a transaction have knowledge only of that which is directly necessary for that transaction. Since any information can be spoken of, we must ensure that we reveal as little as possible. In most cases personal identity is not salient. When I purchase a magazine at a store and hand cash to the clerk, there is no need to know who I am. When I ask my electronic mail provider to send and receive messages, my provider need not know to whom I am speaking or what I am saying or what others are saying to me; my provider only need know how to get the message there and how much I owe them in fees. When my identity is revealed by the underlying mechanism of the transaction, I have no privacy. I cannot here selectively reveal myself; I must *always* reveal myself.
+
+Therefore, privacy in an open society requires anonymous transaction systems. Until now, cash has been the primary such system. An anonymous transaction system is not a secret transaction system. An anonymous system empowers individuals to reveal their identity when desired and only when desired; this is the essence of privacy.
+
+Privacy in an open society also requires cryptography. If I say something, I want it heard only by those for whom I intend it. If the content of my speech is available to the world, I have no privacy. To encrypt is to indicate the desire for privacy, and to encrypt with weak cryptography is to indicate not too much desire for privacy. Furthermore, to reveal one's identity with assurance when the default is anonymity requires the cryptographic signature.
+
+We cannot expect governments, corporations, or other large, faceless organizations to grant us privacy out of their beneficence. It is to their advantage to speak of us, and we should expect that they will speak. To try to prevent their speech is to fight against the realities of information. Information does not just want to be free, it longs to be free. Information expands to fill the available storage space. Information is Rumor's younger, stronger cousin; Information is fleeter of foot, has more eyes, knows more, and understands less than Rumor.
+
+We must defend our own privacy if we expect to have any. We must come together and create systems which allow anonymous transactions to take place. People have been defending their own privacy for centuries with whispers, darkness, envelopes, closed doors, secret handshakes, and couriers. The technologies of the past did not allow for strong privacy, but electronic technologies do.
+
+We the Cypherpunks are dedicated to building anonymous systems. We are defending our privacy with cryptography, with anonymous mail forwarding systems, with digital signatures, and with electronic money.
+
+Cypherpunks write code. We know that someone has to write software to defend privacy, and since we can't get privacy unless we all do, we're going to write it. We publish our code so that our fellow Cypherpunks may practice and play with it. Our code is free for all to use, worldwide. We don't much care if you don't approve of the software we write. We know that software can't be destroyed and that a widely dispersed system can't be shut down.
+
+Cypherpunks deplore regulations on cryptography, for encryption is fundamentally a private act. The act of encryption, in fact, removes information from the public realm. Even laws against cryptography reach only so far as a nation's border and the arm of its violence. Cryptography will ineluctably spread over the whole globe, and with it the anonymous transactions systems that it makes possible.
+
+For privacy to be widespread it must be part of a social contract. People must come and together deploy these systems for the common good. Privacy only extends so far as the cooperation of one's fellows in society. We the Cypherpunks seek your questions and your concerns and hope we may engage you so that we do not deceive ourselves. We will not, however, be moved out of our course because some may disagree with our goals.
+
+The Cypherpunks are actively engaged in making the networks safer for privacy. Let us proceed together apace.
+
+Onward.
+
+---
+
+Eric Hughes    
+9 March 1993
+
+Source: http://www.activism.net/cypherpunk/manifesto.html

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 +1,68 @@
+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

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+# 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/2006-Realtime-Art-Manifesto.htm

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+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html; charset=UTF-8" />
+    <title>Tale of Tales - Realtime Art Manifesto</title>
+    <link rel="stylesheet" type="text/css"  href="RAM_files/RAM.css" />
+  </head>
+  <body style="margin: 53pt 53pt 71pt 71pt;">
+    <div style="margin : 90pt 0pt 0pt 0pt; ">
+      <p style="margin-bottom: 0.000000pt; margin-top: 0.000000pt; padding-top: 0pt; " class="Title ">
+        <span style="color: #880000; ">Realtime art manifesto</span>
+        <span style="color: #ff0000; "></span>
+      </p>
+      <p class="Subtitle ">
+        <span style="vertical-align: 0.000000em; ">Auriea Harvey &amp; Micha&#xEB;l Samyn<br /></span>
+        <span style="font-size: 11.00pt; vertical-align: 0.000000em; ">Directors, &#xA0;Tale of Tales, &#xA0;ram@tale-of-tales.com</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Subtitle " style="vertical-align: 0.000000em;  visibility: hidden; ">&#xA0;</p>
+      <p class="Bylines " style="vertical-align: 0.000000em;  visibility: hidden; ">&#xA0;</p>
+      <p class="Bibliography_Text " style="vertical-align: 0.000000em;  visibility: hidden; ">&#xA0;</p>
+      <p class="Bylines " style="font-size: 11.00pt; vertical-align: 0.000000em; ">Gaming realities: the challenge of digital culture</p>
+      <p class="Bylines " style="font-size: 11.00pt; vertical-align: 0.000000em; "><a href="http://www.mediaterra.org">mediaterra festival of Art and Technology</a></p>
+      <p class="Bylines ">
+        <span style="font-size: 11.00pt; vertical-align: 0.000000em; ">Athens, 2006</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+    </div>
+    <div style="margin : 0pt 0pt 0pt 0pt; ">
+      <p></p>
+            <p class="Heading_2 " style="vertical-align: 0.000000em; ">Abstract</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Auriea Harvey and Micha&#xEB;l Samyn are new media artists who have embraced realtime 3D game technology as their artistic medium of choice. Realtime 3D is the most remarkable new creative technology since oil on canvas. It is much too important to be wasted on computer games alone. This manifesto is a call-to-arms for creative people (including, but not limited to, video game designers and fine artists) to embrace this new medium and start realizing its enormous potential. As well as a set of guidelines that express our own ideas and ideals about using the technology.</p>
+      <p style="margin-bottom: 0.000000pt; margin-left: 36.00pt; margin-top: 0.000000pt; text-indent: 0.00pt; color: #880000; " class="Body ">&#xA0;1. &#xA0;Realtime 3D is a medium for artistic expression.<br />&#xA0;2. &#xA0;Be an author.<br />&#xA0;3. &#xA0;Create a total experience.<br />&#xA0;4. &#xA0;Embed the user in the environment.<br />&#xA0;5. &#xA0;Reject dehumanisation: tell stories.<br />&#xA0;6. &#xA0;Interactivity wants to be free.<br />&#xA0;7. &#xA0;Don&#x2019;t make modern art.<br />&#xA0;8. &#xA0;Reject conceptualism.<br />&#xA0;9. &#xA0;Embrace technology.<br />10. Develop a punk economy.</p>
+      <p class="Heading_2 " style="vertical-align: 0.000000em; ">Keywords</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">realtime 3d<br />computer games<br />interactive storytelling<br />game design<br />artistry<br />non-linearity</p>
+    </div>
+    <div style="margin : 0pt 0pt 0pt 0pt; ">
+      <p></p>
+      <p style="padding-top: 0pt; " class="Title ">
+        <span style="color: #880000; vertical-align: 0.000000em; ">Realtime art manifesto</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+<BR><BR>
+      <p style="padding-top: 0pt; " class="Heading_1 ">
+        <span style="color: #880000; vertical-align: 0.000000em; ">1. Realtime 3D is a medium for artistic expression.</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Games are not the only things you can make with realtime 3D technology.<br />And modification of commercial games is not the only option accessible to artists.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Realtime 3D is the most remarkable new creative technology since oil on canvas.<br />It is much too important to remain in the hands of toy makers and propaganda machines.<br />We need to rip the technology out of their greedy claws and put them to shame by producing<br />the most stunning art to grace this planet so far.<br />(And claim the name &#x201C;game&#x201D; for what we do even if it is inappropriate.)</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">Real-time 3d interactives can be an art form unto themselves.</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Heading_1 ">
+        <span style="color: #880000; vertical-align: 0.000000em; ">2. Be an author.</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Do not hide behind the freedom of the user in an interactive environment to ignore your responsibility as a creator.<br />This only ends in confirming cliches.<br />Do not design in board room meetings or give marketeers creative power.<br />Your work needs to come from a singular vision and be driven by a personal passion.<br />Do not delegate direction jobs.<br />Be a dictator.<br />But collaborate with artisans more skilled than you.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Ignore the critics and the fanboys.<br />Make work for your audience instead.<br />Embrace the ambiguity that the realtime medium excells in.<br />Leave interpretation open where appropriate<br />but keep the user focused and immersed the worlds that you create.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Commercial games are conservative, both in design as in mentality.<br />They eschew authorship, pretending to offer the player a neutral vessel to take him or her through the virtual world.<br />But the refusal to author results in a mimicing of generally accepted notions, of television and other mass media.<br />Banality.<br />Reject pure commercialism.<br />Individual elements of many commercial games made with craft and care produce artistic effects <br />but the overall product is not art.<br />Some commercial games have artistic moments,<br />but we need to go further.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Step one: drop the requirement of making a game.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The game structure of rules and competition stands in the way of expressiveness.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Interactivity wants to be free.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Gaming stands in the way of playing.<br />There are so many other ways of interacting in virtual environments.<br />We have only just begun to discover the possibilities.<br />Games are games.<br />They are ancient forms of play that have their place in our societies.<br />But they are by far not the only things one can do with realtime technologies.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Stop making games.<br />Be an author.</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">3. Create a total experience.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Do not render!</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">All elements serve the realisation of the piece as a whole.<br />Models, textures, sound, interaction, environment, atmosphere, <br />drama, story, programming <br />are all equally important.<br />Do not rely on static renderings.<br />Everything happens in real time.<br />The visuals as well as the logic.<br />Create multi-sensorial experiences.<br /></span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">Simulate</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; "> sensorial sensations for which output hardware does not exist (yet).<br />Make the experience feel real<br />(it does not need to look real).<br />Do not imitate other media but develop an aesthetic style that is unique.</span>
+      </p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Make the activity that the user spends most time doing the most interesting one in the game.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">It&#x2019;s not about the individual elements but about the total effect of the environment.<br />The sum of its parts.<br />In the end the work is judged by the quality of authorship<br />and not by its individual elements.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Models, textures, sound, interaction design, environment design, atmosphere, drama, story, programming.<br />Together without hierarchy.<br />No element can be singled out. All are equally important.<br />Create a simulated multi-sensorial experience. Not only a picture.<br />Or only a game.<br />Or only a soundtrack.</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">4. Embed the user in the environment.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The user is not disembodied in virtual space<br />but takes the body into the experience.<br />The avatar is not a neutral vessel but allows the user to navigate<br />not only through the virtual space<br />but also through the narrative content.<br />Interaction is the link between the user and the piece.<br />Provide for references<br />(both conceptual and sensorial)<br />to connect the user to the environment.<br />Reject abstraction.<br />Make the user feel at home.<br />(and then play with his<br />or her<br />expectations<br />-just don&#x2019;t start with alienation,<br />the real world is alienationg enough as it is)</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Reject the body-mind duality.<br />The user is the center of the experience.<br />Think &#x201C;architecture&#x201D;, not &#x201C;film&#x201D;.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Interaction is pivotal<br />to &#x201C;put the user in the environment&#x201D;.<br />The user is not disembodied but is provided with a device<br />(similar to a diving suit or astronout&#x2019;s outfit)<br />which allows him<br />or her<br />to visit a place that would otherwise not be accessible.<br />You bring your body with you to this place,<br />or at least your memories of it.</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">Strictly speaking, our output media only allow for the reproduction of </span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">visuals</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; "> and </span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">sound</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">.<br />But real-time interaction and processing can help us to achieve </span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">simulation</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; "> of touch, smell and taste as well, through visuals and sound.<br />In fact, force feedback already provides for a way to communicate with touch.<br />And the activity of fingers on the mouse or hands holding a joystick allows for physical communication.<br />Don&#x2019;t underestimate this connection.<br />From the USB port to the joystick. Through the hand to the nerous system.<br />One network.</span>
+      </p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Soon as smell and taste can be reproduced, those media can quickly be incorporated into our technology.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The virtual place is not necessarily alien.<br />On the contrary:<br />It can deal with any subject.<br />References to the real world<br />(of nature as well as culture)<br />(both conceptual and sensorial)<br />create links between the environment and the user.<br />Since interaction is pivotal, these links are crucial.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Make it feel real, not necessarily look real.</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">Develop a unique language for the realtime 3D medium and do not fall in MacLuhan&#x2019;s trap<br />(don&#x2019;t allow any old medium to become the content of the new)<br />Imitate </span>
+        <span style="font-family: 'HoeflerText-Black', 'Hoefler Text'; font-weight: bold; line-height: 1.44; vertical-align: 0.000000em; ">life</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; "> and not photography, or drawings, or comic strips or even old-school games.<br />Realism does not equal </span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">photo</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">-realism!<br />In a multisensory medium, </span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">realism</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; "> is a multisensory experience:</span>
+      </p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">It has to feel real.</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">5. Reject dehumanisation: tell stories.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Stories ground people in culture,<br />(and remove the alienation that causes aggression)<br />stimulate their imagination,<br />(and therefore improve the capability to change)<br />teach them about themselves<br />and connect them with each other.<br />Stories are a vital element of society.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Embrace non-linearity.<br />Let go of the idea of plot.<br />Realtime is non-linear.<br />Tell the story through interaction.<br />Do not use in-game movies or other non-realtime devices to tell the story.<br />Do not create a &#x201C;drama manager&#x201D;: let go of plot!<br />Plot is not compatible with realtime.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Think &#x201C;poetry&#x201D;, not &#x201C;prose&#x201D;.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The ancient Greek philosopher Aristotle recognized six elements in Drama.<br />PLOT<br />what happens in a play, the order of events,<br />is only one of them.<br />Next to plot we have<br />THEME<br />or the main idea in the work<br />CHARACTER<br />or the personality or role played by an actor<br />DICTION<br />the choice and delivery of words<br />MUSIC/RHYTHM<br />the sound, rhythm and melody of what is being said<br />SPECTACLE<br />the visual elements of the work.<br />All of these can be useful in non-linear realtime experiences. Except plot.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">But the realtime medium offers additional elements that easily augment or replace plot.<br />INTERACTIVITY<br />the direct influence of the viewer on the work<br />IMMERSION<br />the presence of the viewer in the work<br />AN AUDIENCE OF ONE<br />every staging of the work is done for an audience of a single person in the privacy of his<br />or her<br />home.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">These new elements add the viewer as an active participant to the experience.<br />This is not a reduction of the idea of story but an enrichment.<br />Realtime media allow us to tell stories that could not be told before.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Many of the mythical fantasies about art can now be made real.<br />Now we can step into paintings and become part of them.<br />Now sculptures can come alive and talk to us.<br />Now we walk onto the stage and take part in the action.<br />We can live the lives of romance characters.<br />Be the poet <br />or the muse.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Do not reject stortelling in realtime because it is not straightforward.<br />Realtime media allow us to make ambiguity and imagination active parts of the experience.<br />Embrace the ambiguity:<br />it is enriching.<br />The realtime medium allows for telling stories that cannot be told in any other language.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">But realtime is not suitable for linear stories:</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Embrace non-linearity!<br />Reject plot!</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Realtime is a poetic technology.<br />Populate the virtual world with narrative elements that allow the player to make up his or her own story.<br />Imagination moves the story into the user&#x2019;s mind.<br />It allows the story to penetrate the surface and take its place amongst the user&#x2019;s thoughts &amp; memories.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The bulk of your story should be told in realtime, through interaction.<br />Do not use in-game movies or other devices.<br />Do not fall back on a machine to create plot on the fly:<br />let go of plot,<br />plot is not compatible with realtime.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Do not squeeze the realtime medium into a linear frame.<br />Stories in games are not impossible or irrelevant, even if &#x201C;all that matters is gameplay&#x201D;.<br />Humans need stories and will find stories in everything.<br />Use this to your advantage.<br />Yes, &#x201C;all that matters is gameplay&#x201D;,<br />if you extend gameplay to mean all interaction in the game.<br />Because it is through this interaction that the realtime medium will tell its stories.</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">The situation is the story.<br />Choose your characters and environment carefully<br />so that the situation immediately triggers narrative associations in the mind of the user.</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">6. Interactivity wants to be free.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Don&#x2019;t make games.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The rule-based structure and competitive elements in traditional game design stand in the way of expressiveness.<br />And often, ironically, rules get in the way of playfulness<br />(playfulness is required for an artistic experience!).</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Express yourself through interactivity.<br />Interactivity is the one unique element of the realtime medium.<br />The one thing that no other medium can do better.<br />It should be at the center of your creation.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Interactivity design rule number one:<br />the thing you do most in the game, should be the thing that is most interesting to do.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">i.e., If it takes a long time to walk between puzzles, the walk should be more interesting than the puzzles.</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">7. Don&#x2019;t make modern art.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Modern art tends to be ironical, cynical, self referential, afraid of beauty, afraid of meaning<br />-other than the trendy discourse of the day-,<br />afraid of technology, anti-artistry.<br />Furthermore contemporary art is a marginal niche.<br />The audience is elsewhere.<br />Go to them rather then expecting them to come to the museum.<br />Contemporary art is a style, a genre, a format.<br />Think!</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Do not fear beauty.<br />Do not fear pleasure.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Make art-games, not game-art.<br />Game art is just modern art<br />-ironical, cynical, afraid of beauty, afraid of meaning.<br />It abuses a technology that has already spawned an art form capable of communicating far beyond the reach of modern art.<br />Made by artists far superior in artistry and skills.<br />Game art is slave art.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Realtime media are craving your input, your visions.<br />Real people are starving for meaningful experiences.<br />And what&#x2019;s more:</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">society needs you.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Contemporary civilisations are declining at an unsurpassed rate.<br />Fundamentalism.<br />Fascism.<br />Populism.<br />War.<br />Pollution.<br />The world is collapsing while the Artists twiddle their thumbs in the museums.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Step into the world.<br />Into the private worlds of individuals.<br />Share your vision.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Connect.<br />Connect.<br />Communicate.</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">8. Reject conceptualism.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Make art for people,<br />not for documentation.<br />Make art to experience<br />and not to read about.<br />Use the language of your medium to communicate all there is to know.<br />The user should never be required to read a description or a manual.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Don&#x2019;t parody things that are better than you.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Parodies of commercial games are ridiculous if their technology, craft and artistry do not match up with the original.<br />Don&#x2019;t settle yourself in the position of the underdog: surpass them!<br />Go over their heads!<br />Dominate them!<br />Show them how it&#x2019;s done!</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Put the artistry back in Art.<br />Reject conceptualism.<br />Make art for people, not for documentation.<br />Make art to experience and not art to read about.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Use the language of your work to communicate its content.</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">The audience should never be required to read the description.<br />The work should communicate all that is required to understand it.</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">9. Embrace technology.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Don&#x2019;t be afraid of technology,<br />and least of all, don&#x2019;t make art about this fear.<br />It&#x2019;s futile.<br />Technology is not nature. Technology is not god.<br />It&#x2019;s a thing.<br />Made for people by people.<br />Grab it. Use it.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Software is infinitely reproducable and easy to distribute.<br />Reject the notion of scarcity.<br />Embrace the abundance that the digital allows for.<br />The uniqueness of realtime is in the experience.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Cut out the middle man: deliver your productions directly to the users.<br />Do not depend on galleries, museums, festivals or publishers.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Technology-based art should not be about technology:<br />it should be about life, death and the human condition.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Embrace technology, make it yours!</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Use machines to make art for humans, not vice versa.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Make software!<br />Software is infinitely reproducable<br />(there is no original; uniqueness is not required<br />-the uniqueness is in the experience)<br />Distribution of software is easy through the internet or portable data containers<br />(no elitism; no museums, galleries, or festivals; from creator to audience without mediation -and from the audience back to the creator, through the same distribution media)</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">10. Develop a punk economy.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Don&#x2019;t shy away from competition with commercial developers.<br />Your work offers something that theirs does not:<br />originality of design,<br />depth of content,<br />alternative aesthetics.<br />Don&#x2019;t worry about the polish too much.<br />Get the big picture right.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">&#x201C;Reduce the volume, Increase the quality and density&#x201D;<br />(Fumito Ueda)</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Make short and intense games:<br />think haiku, not epic.<br />Think poetry, not prose.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Embrace punk aesthetics.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">But don&#x2019;t become too dependant on government or industry funding:<br />it is unreliable.<br />Sell your work directly to your audience.<br />And use alternative distribution methods that do not require enormous sales figures to break even.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Consider self-publishing and digital distribution.<br />Avoid retail and traditional games publishers.<br />Together they take so great a cut<br />that it requires you to sell hundreds of thousands of copies to make your production investment back.</p>
+      <p class="Body ">
+        <span style="vertical-align: 0.000000em; ">Do not allow institutional</span>
+        <span style="vertical-align: 0.000000em; "> or economic control of your intellectual property, ideas, technology and inventions</span>
+        <span style="vertical-align: 0.000000em; ">.</span>
+      </p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Don&#x2019;t depend on government support or the arts world exclusively.<br />Sell your games!<br />Communicate with your audience directly:<br />cut out the middle man.<br />Let the audience support your work.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Communicate.</p>
+      <p class="Body " style="vertical-align: 0.000000em;  visibility: hidden; ">&#xA0;</p>
+      <p class="Body " style="vertical-align: 0.000000em;  visibility: hidden; ">&#xA0;</p>
+      <p class="Heading_2 " style="vertical-align: 0.000000em; ">References</p>
+      <p class="Body ">
+        <span style="vertical-align: 0.000000em; ">Aristotle&#x2019;s Six Elements of Drama <br /></span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text', georgia; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; "><a href="http://www.kyshakes.org/Resources/Aristotle.html">http://www.kyshakes.org/Resources/Aristotle.html</a></span>
+      </p>
+      <p style="padding-bottom: 10pt; " class="Body ">
+        <span style="vertical-align: 0.000000em; ">Fumito Ueda &amp; Kenji Kaido: Game Design Methods of ICO <br /></span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text', georgia; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; "><a href="http://tale-of-tales.com/tales/ueda/">http://tale-of-tales.com/tales/ueda/</a></span>
+        </p>
+             <p style="padding-bottom: 10pt; " class="Body ">
+        <span style="vertical-align: 0.000000em; ">Realtime Art Manifesto presentation slides.<br /></span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text', georgia; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; "><a href="http://tale-of-tales.com/tales/RAM_files/ToT-RAM_presentation.zip">http://tale-of-tales.com/tales/RAM_files/ToT-RAM_presentation.zip</a></span>
+        
+<BR><BR>        <a href=http://www.flickr.com/photos/entropy8/sets/72157594548272472/><img src=RAM_files/RAM.png width=500></a>
+        
+      </p>
+    </div>
+  </body>
+</html>

content/manifestos-tmp/2006-realtime-art-manifesto.md

@@ -0,0 +1,396 @@
+# REALTIME ART MANIFESTO
+
+Auriea Harvey & Michaël Samyn
+
+Directors,  Tale of Tales,  ram@tale-of-tales.com
+Gaming realities: the challenge of digital culture
+mediaterra festival of Art and Technology
+Athens, 2006
+
+## Abstract
+
+Auriea Harvey and Michaël Samyn are new media artists who have embraced realtime 3D game technology as their artistic medium of choice. Realtime 3D is the most remarkable new creative technology since oil on canvas. It is much too important to be wasted on computer games alone. This manifesto is a call-to-arms for creative people (including, but not limited to, video game designers and fine artists) to embrace this new medium and start realizing its enormous potential. As well as a set of guidelines that express our own ideas and ideals about using the technology.
+
+ 1.  Realtime 3D is a medium for artistic expression.
+ 2.  Be an author.
+ 3.  Create a total experience.
+ 4.  Embed the user in the environment.
+ 5.  Reject dehumanisation: tell stories.
+ 6.  Interactivity wants to be free.
+ 7.  Don’t make modern art.
+ 8.  Reject conceptualism.
+ 9.  Embrace technology.
+10. Develop a punk economy.
+
+Keywords: realtime 3d, computer games, interactive storytelling, game design, artistry, non-linearity
+
+## REALTIME ART MANIFESTO
+
+### 1. Realtime 3D is a medium for artistic expression.
+
+Games are not the only things you can make with realtime 3D technology.
+And modification of commercial games is not the only option accessible to artists.
+
+Realtime 3D is the most remarkable new creative technology since oil on canvas.
+It is much too important to remain in the hands of toy makers and propaganda machines.
+We need to rip the technology out of their greedy claws and put them to shame by producing
+the most stunning art to grace this planet so far.
+(And claim the name “game” for what we do even if it is inappropriate.)
+
+Real-time 3d interactives can be an art form unto themselves.
+
+### 2. Be an author.
+
+Do not hide behind the freedom of the user in an interactive environment to ignore your responsibility as a creator.
+This only ends in confirming cliches.
+Do not design in board room meetings or give marketeers creative power.
+Your work needs to come from a singular vision and be driven by a personal passion.
+Do not delegate direction jobs.
+Be a dictator.
+But collaborate with artisans more skilled than you.
+
+Ignore the critics and the fanboys.
+Make work for your audience instead.
+Embrace the ambiguity that the realtime medium excells in.
+Leave interpretation open where appropriate
+but keep the user focused and immersed the worlds that you create.
+
+Commercial games are conservative, both in design as in mentality.
+They eschew authorship, pretending to offer the player a neutral vessel to take him or her through the virtual world.
+But the refusal to author results in a mimicing of generally accepted notions, of television and other mass media.
+Banality.
+Reject pure commercialism.
+Individual elements of many commercial games made with craft and care produce artistic effects 
+but the overall product is not art.
+Some commercial games have artistic moments,
+but we need to go further.
+
+Step one: drop the requirement of making a game.
+
+The game structure of rules and competition stands in the way of expressiveness.
+
+Interactivity wants to be free.
+
+Gaming stands in the way of playing.
+There are so many other ways of interacting in virtual environments.
+We have only just begun to discover the possibilities.
+Games are games.
+They are ancient forms of play that have their place in our societies.
+But they are by far not the only things one can do with realtime technologies.
+
+Stop making games.
+Be an author.
+
+### 3. Create a total experience.
+
+Do not render!
+
+All elements serve the realisation of the piece as a whole.
+Models, textures, sound, interaction, environment, atmosphere, 
+drama, story, programming 
+are all equally important.
+Do not rely on static renderings.
+Everything happens in real time.
+The visuals as well as the logic.
+Create multi-sensorial experiences.
+*Simulate* sensorial sensations for which output hardware does not exist (yet).
+Make the experience feel real
+(it does not need to look real).
+Do not imitate other media but develop an aesthetic style that is unique.
+
+Make the activity that the user spends most time doing the most interesting one in the game.
+
+It’s not about the individual elements but about the total effect of the environment.
+The sum of its parts.
+In the end the work is judged by the quality of authorship
+and not by its individual elements.
+
+Models, textures, sound, interaction design, environment design, atmosphere, drama, story, programming.
+Together without hierarchy.
+No element can be singled out. All are equally important.
+Create a simulated multi-sensorial experience. Not only a picture.
+Or only a game.
+Or only a soundtrack.
+
+### 4. Embed the user in the environment.
+
+The user is not disembodied in virtual space
+but takes the body into the experience.
+The avatar is not a neutral vessel but allows the user to navigate
+not only through the virtual space
+but also through the narrative content.
+Interaction is the link between the user and the piece.
+Provide for references
+(both conceptual and sensorial)
+to connect the user to the environment.
+Reject abstraction.
+Make the user feel at home.
+(and then play with his
+or her
+expectations
+-just don’t start with alienation,
+the real world is alienationg enough as it is)
+
+Reject the body-mind duality.
+The user is the center of the experience.
+Think “architecture”, not “film”.
+
+Interaction is pivotal
+to “put the user in the environment”.
+The user is not disembodied but is provided with a device
+(similar to a diving suit or astronout’s outfit)
+which allows him
+or her
+to visit a place that would otherwise not be accessible.
+You bring your body with you to this place,
+or at least your memories of it.
+
+Strictly speaking, our output media only allow for the reproduction of *visuals* and *sound*.
+But real-time interaction and processing can help us to achieve simulation of touch, smell and taste as well, through visuals and sound.
+In fact, force feedback already provides for a way to communicate with touch.
+And the activity of fingers on the mouse or hands holding a joystick allows for physical communication.
+Don’t underestimate this connection.
+From the USB port to the joystick. Through the hand to the nerous system.
+One network.
+Soon as smell and taste can be reproduced, those media can quickly be incorporated into our technology.
+The virtual place is not necessarily alien.
+On the contrary:
+It can deal with any subject.
+References to the real world
+(of nature as well as culture)
+(both conceptual and sensorial)
+create links between the environment and the user.
+Since interaction is pivotal, these links are crucial.
+Make it feel real, not necessarily look real.
+Develop a unique language for the realtime 3D medium and do not fall in MacLuhan’s trap
+(don’t allow any old medium to become the content of the new)
+Imitate life and not photography, or drawings, or comic strips or even old-school games.
+Realism does not equal *photo*-realism!
+In a multisensory medium, *realism* is a multisensory experience:
+
+It has to feel real.
+
+### 5. Reject dehumanisation: tell stories.
+
+Stories ground people in culture,
+(and remove the alienation that causes aggression)
+stimulate their imagination,
+(and therefore improve the capability to change)
+teach them about themselves
+and connect them with each other.
+Stories are a vital element of society.
+Embrace non-linearity.
+Let go of the idea of plot.
+Realtime is non-linear.
+Tell the story through interaction.
+Do not use in-game movies or other non-realtime devices to tell the story.
+Do not create a “drama manager”: let go of plot!
+Plot is not compatible with realtime.
+Think “poetry”, not “prose”.
+The ancient Greek philosopher Aristotle recognized six elements in Drama.
+PLOT
+what happens in a play, the order of events,
+is only one of them.
+Next to plot we have
+THEME
+or the main idea in the work
+CHARACTER
+or the personality or role played by an actor
+DICTION
+the choice and delivery of words
+MUSIC/RHYTHM
+the sound, rhythm and melody of what is being said
+SPECTACLE
+the visual elements of the work.
+All of these can be useful in non-linear realtime experiences. Except plot.
+But the realtime medium offers additional elements that easily augment or replace plot.
+INTERACTIVITY
+the direct influence of the viewer on the work
+IMMERSION
+the presence of the viewer in the work
+AN AUDIENCE OF ONE
+every staging of the work is done for an audience of a single person in the privacy of his
+or her
+home.
+These new elements add the viewer as an active participant to the experience.
+This is not a reduction of the idea of story but an enrichment.
+Realtime media allow us to tell stories that could not be told before.
+Many of the mythical fantasies about art can now be made real.
+Now we can step into paintings and become part of them.
+Now sculptures can come alive and talk to us.
+Now we walk onto the stage and take part in the action.
+We can live the lives of romance characters.
+Be the poet 
+or the muse.
+Do not reject stortelling in realtime because it is not straightforward.
+Realtime media allow us to make ambiguity and imagination active parts of the experience.
+Embrace the ambiguity:
+it is enriching.
+The realtime medium allows for telling stories that cannot be told in any other language.
+But realtime is not suitable for linear stories:
+Embrace non-linearity!
+Reject plot!
+Realtime is a poetic technology.
+Populate the virtual world with narrative elements that allow the player to make up his or her own story.
+Imagination moves the story into the user’s mind.
+It allows the story to penetrate the surface and take its place amongst the user’s thoughts & memories.
+The bulk of your story should be told in realtime, through interaction.
+Do not use in-game movies or other devices.
+Do not fall back on a machine to create plot on the fly:
+let go of plot,
+plot is not compatible with realtime.
+Do not squeeze the realtime medium into a linear frame.
+Stories in games are not impossible or irrelevant, even if “all that matters is gameplay”.
+Humans need stories and will find stories in everything.
+Use this to your advantage.
+Yes, “all that matters is gameplay”,
+if you extend gameplay to mean all interaction in the game.
+Because it is through this interaction that the realtime medium will tell its stories.
+The situation is the story.
+Choose your characters and environment carefully
+so that the situation immediately triggers narrative associations in the mind of the user.
+
+### 6. Interactivity wants to be free.
+
+Don’t make games.
+The rule-based structure and competitive elements in traditional game design stand in the way of expressiveness.
+And often, ironically, rules get in the way of playfulness
+(playfulness is required for an artistic experience!).
+Express yourself through interactivity.
+Interactivity is the one unique element of the realtime medium.
+The one thing that no other medium can do better.
+It should be at the center of your creation.
+Interactivity design rule number one:
+the thing you do most in the game, should be the thing that is most interesting to do.
+i.e., If it takes a long time to walk between puzzles, the walk should be more interesting than the puzzles.
+
+### 7. Don’t make modern art.
+
+Modern art tends to be ironical, cynical, self referential, afraid of beauty, afraid of meaning
+-other than the trendy discourse of the day-,
+afraid of technology, anti-artistry.
+Furthermore contemporary art is a marginal niche.
+The audience is elsewhere.
+Go to them rather then expecting them to come to the museum.
+Contemporary art is a style, a genre, a format.
+Think!
+
+Do not fear beauty.
+Do not fear pleasure.
+
+Make art-games, not game-art.
+Game art is just modern art
+-ironical, cynical, afraid of beauty, afraid of meaning.
+It abuses a technology that has already spawned an art form capable of communicating far beyond the reach of modern art.
+Made by artists far superior in artistry and skills.
+Game art is slave art.
+
+Realtime media are craving your input, your visions.
+Real people are starving for meaningful experiences.
+And what’s more:
+
+society needs you.
+
+Contemporary civilisations are declining at an unsurpassed rate.
+Fundamentalism.
+Fascism.
+Populism.
+War.
+Pollution.
+The world is collapsing while the Artists twiddle their thumbs in the museums.
+Step into the world.
+Into the private worlds of individuals.
+Share your vision.
+Connect.
+Connect.
+Communicate.
+
+### 8. Reject conceptualism.
+
+Make art for people,
+not for documentation.
+Make art to experience
+and not to read about.
+Use the language of your medium to communicate all there is to know.
+The user should never be required to read a description or a manual.
+Don’t parody things that are better than you.
+Parodies of commercial games are ridiculous if their technology, craft and artistry do not match up with the original.
+Don’t settle yourself in the position of the underdog: surpass them!
+Go over their heads!
+Dominate them!
+Show them how it’s done!
+Put the artistry back in Art.
+Reject conceptualism.
+Make art for people, not for documentation.
+Make art to experience and not art to read about.
+Use the language of your work to communicate its content.
+The audience should never be required to read the description.
+The work should communicate all that is required to understand it.
+
+### 9. Embrace technology.
+
+Don’t be afraid of technology,
+and least of all, don’t make art about this fear.
+It’s futile.
+Technology is not nature. Technology is not god.
+It’s a thing.
+Made for people by people.
+Grab it. Use it.
+Software is infinitely reproducable and easy to distribute.
+Reject the notion of scarcity.
+Embrace the abundance that the digital allows for.
+The uniqueness of realtime is in the experience.
+Cut out the middle man: deliver your productions directly to the users.
+Do not depend on galleries, museums, festivals or publishers.
+Technology-based art should not be about technology:
+it should be about life, death and the human condition.
+Embrace technology, make it yours!
+Use machines to make art for humans, not vice versa.
+Make software!
+Software is infinitely reproducable
+(there is no original; uniqueness is not required
+-the uniqueness is in the experience)
+Distribution of software is easy through the internet or portable data containers
+(no elitism; no museums, galleries, or festivals; from creator to audience without mediation -and from the audience back to the creator, through the same distribution media)
+
+### 10. Develop a punk economy.
+
+Don’t shy away from competition with commercial developers.
+Your work offers something that theirs does not:
+originality of design,
+depth of content,
+alternative aesthetics.
+Don’t worry about the polish too much.
+Get the big picture right.
+“Reduce the volume, Increase the quality and density”
+(Fumito Ueda)
+Make short and intense games:
+think haiku, not epic.
+Think poetry, not prose.
+Embrace punk aesthetics.
+But don’t become too dependant on government or industry funding:
+it is unreliable.
+Sell your work directly to your audience.
+And use alternative distribution methods that do not require enormous sales figures to break even.
+Consider self-publishing and digital distribution.
+Avoid retail and traditional games publishers.
+Together they take so great a cut
+that it requires you to sell hundreds of thousands of copies to make your production investment back.
+Do not allow institutional or economic control of your intellectual property, ideas, technology and inventions .
+Don’t depend on government support or the arts world exclusively.
+Sell your games!
+Communicate with your audience directly:
+cut out the middle man.
+Let the audience support your work.
+Communicate.
+
+### References
+
+Aristotle’s Six Elements of Drama 
+http://www.kyshakes.org/Resources/Aristotle.html
+
+Fumito Ueda & Kenji Kaido: Game Design Methods of ICO 
+http://tale-of-tales.com/tales/ueda/
+
+Realtime Art Manifesto presentation slides.
+http://tale-of-tales.com/tales/RAM_files/ToT-RAM_presentation.zip 

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/2011-Days-of-Lulz.txt

@@ -0,0 +1,69 @@
+# 50 Days of Lulz 
+
+
+. /$$                 /$$            /$$$$$$                    
+.| $$                | $$           /$$__  $$                    
+.| $$       /$$   /$$| $$ /$$$$$$$$| $$  \__/  /$$$$$$   /$$$$$$$
+.| $$      | $$  | $$| $$|____ /$$/|  $$$$$$  /$$__  $$ /$$_____/
+.| $$      | $$  | $$| $$   /$$$$/  \____  $$| $$$$$$$$| $$      
+.| $$      | $$  | $$| $$  /$$__/   /$$  \ $$| $$_____/| $$      
+.| $$$$$$$$|  $$$$$$/| $$ /$$$$$$$$|  $$$$$$/|  $$$$$$$|  $$$$$$.$
+.|________/ \______/ |__/|________/ \______/  \_______/ \_______/
+                          //Laughing at your security since 2011!
+
+.--    .-""-.
+.   ) (     )
+.  (   )   (
+.     /     )
+.    (_    _)                     0_,-.__
+.      (_  )_                     |_.-._/
+.       (    )                    |lulz..\    
+.        (__)                     |__--_/          
+.     |''   ``\                   |
+.     | [Lulz] \                  |      /b/
+.     |         \  ,,,---===?A`\  |  ,==y'
+.   ___,,,,,---==""\        |M] \ | ;|\ |>
+.           _   _   \   ___,|H,,---==""""bno,
+.    o  O  (_) (_)   \ /          _     AWAW/
+.                     /         _(+)_  dMM/
+.      \@_,,,,,,---=="   \      \\|//  MW/
+.--''''"                         ===  d/
+.                                    //   SET SAIL FOR FAIL!
+.                                    ,'_________________________
+.   \    \    \     \               ,/~~~~~~~~~~~~~~~~~~~~~~~~~~~
+.                         _____    ,'  ~~~   .-""-.~~~~~~  .-""-.
+.      .-""-.           ///==---   /`-._ ..-'      -.__..-'
+.            `-.__..-' =====\\\\\\ V/  .---\.
+.                     ~~~~~~~~~~~~, _',--/_.\  .-""-.
+.                            .-""-.___` --  \|         -.__..-
+
+Friends around the globe,
+
+We are Lulz Security, and this is our final release, as today marks something meaningful to us. 50 days ago, we set sail with our humble ship on an uneasy and brutal ocean: the Internet. The hate machine, the love machine, the machine powered by many machines. We are all part of it, helping it grow, and helping it grow on us.
+
+For the past 50 days we've been disrupting and exposing corporations, governments, often the general population itself, and quite possibly everything in between, just because we could. All to selflessly entertain others - vanity, fame, recognition, all of these things are shadowed by our desire for that which we all love. The raw, uninterrupted, chaotic thrill of entertainment and anarchy. It's what we all crave, even the seemingly lifeless politicians and emotionless, middle-aged self-titled failures. You are not failures. You have not blown away. You can get what you want and you are worth having it, believe in yourself.
+
+While we are responsible for everything that The Lulz Boat is, we are not tied to this identity permanently. Behind this jolly visage of rainbows and top hats, we are people. People with a preference for music, a preference for food; we have varying taste in clothes and television, we are just like you. Even Hitler and Osama Bin Laden had these unique variations and style, and isn't that interesting to know? The mediocre painter turned supervillain liked cats more than we did.
+
+Again, behind the mask, behind the insanity and mayhem, we truly believe in the AntiSec movement. We believe in it so strongly that we brought it back, much to the dismay of those looking for more anarchic lulz. We hope, wish, even beg, that the movement manifests itself into a revolution that can continue on without us. The support we've gathered for it in such a short space of time is truly overwhelming, and not to mention humbling. Please don't stop. Together, united, we can stomp down our common oppressors and imbue ourselves with the power and freedom we deserve.
+
+So with those last thoughts, it's time to say bon voyage. Our planned 50 day cruise has expired, and we must now sail into the distance, leaving behind - we hope - inspiration, fear, denial, happiness, approval, disapproval, mockery, embarrassment, thoughtfulness, jealousy, hate, even love. If anything, we hope we had a microscopic impact on someone, somewhere. Anywhere.
+
+Thank you for sailing with us. The breeze is fresh and the sun is setting, so now we head for the horizon.
+
+Let it flow...
+
+Lulz Security - our crew of six wishes you a happy 2011, and a shout-out to all of our battlefleet members and supporters across the globe
+
+------------------------------------------------------------------------------------------------------
+
+Our mayhem: http://lulzsecurity.com/releases/
+Our chaos: http://thepiratebay.org/user/LulzSec/
+Our final release: http://thepiratebay.org/torrent/6495523/50_Days_of_Lulz
+
+Please make mirrors of material on the website, because we're not renewing the hosting. Goodbye. <3
+
+
+---
+
+Source: http://pastebin.com/raw/1znEGmHa

content/manifestos-tmp/2011-LulzSec.txt

@@ -0,0 +1,32 @@
+# LulzSec - 1000th tweet statement
+
+Dear Internets,
+ 
+This is Lulz Security, better known as those evil bastards from twitter. We just hit 1000 tweets, and as such we thought it best to have a little chit-chat with our friends (and foes).
+ 
+For the past month and a bit, we've been causing mayhem and chaos throughout the Internet, attacking several targets including PBS, Sony, Fox, porn websites, FBI, CIA, the U.S. government, Sony some more, online gaming servers (by request of callers, not by our own choice), Sony again, and of course our good friend Sony.
+ 
+While we've gained many, many supporters, we do have a mass of enemies, albeit mainly gamers. The main anti-LulzSec argument suggests that we're going to bring down more Internet laws by continuing our public shenanigans, and that our actions are causing clowns with pens to write new rules for you. But what if we just hadn't released anything? What if we were silent? That would mean we would be secretly inside FBI affiliates right now, inside PBS, inside Sony... watching... abusing...
+ 
+Do you think every hacker announces everything they've hacked? We certainly haven't, and we're damn sure others are playing the silent game. Do you feel safe with your Facebook accounts, your Google Mail accounts, your Skype accounts? What makes you think a hacker isn't silently sitting inside all of these right now, sniping out individual people, or perhaps selling them off? You are a peon to these people. A toy. A string of characters with a value.
+ 
+This is what you should be fearful of, not us releasing things publicly, but the fact that someone hasn't released something publicly. We're sitting on 200,000 Brink users right now that we never gave out. It might make you feel safe knowing we told you, so that Brink users may change their passwords. What if we hadn't told you? No one would be aware of this theft, and we'd have a fresh 200,000 peons to abuse, completely unaware of a breach.
+ 
+Yes, yes, there's always the argument that releasing everything in full is just as evil, what with accounts being stolen and abused, but welcome to 2011. This is the lulz lizard era, where we do things just because we find it entertaining. Watching someone's Facebook picture turn into a penis and seeing their sister's shocked response is priceless. Receiving angry emails from the man you just sent 10 dildos to because he can't secure his Amazon password is priceless. You find it funny to watch havoc unfold, and we find it funny to cause it. We release personal data so that equally evil people can entertain us with what they do with it.
+ 
+Most of you reading this love the idea of wrecking someone else's online experience anonymously. It's appealing and unique, there are no two account hijackings that are the same, no two suddenly enraged girlfriends with the same expression when you admit to killing prostitutes from her boyfriend's recently stolen MSN account, and there's certainly no limit to the lulz lizardry that we all partake in on some level.
+ 
+And that's all there is to it, that's what appeals to our Internet generation. We're attracted to fast-changing scenarios, we can't stand repetitiveness, and we want our shot of entertainment or we just go and browse something else, like an unimpressed zombie. Nyan-nyan-nyan-nyan-nyan-nyan-nyan-nyan, anyway...
+ 
+Nobody is truly causing the Internet to slip one way or the other, it's an inevitable outcome for us humans. We find, we nom nom nom, we move onto something else that's yummier. We've been entertaining you 1000 times with 140 characters or less, and we'll continue creating things that are exciting and new until we're brought to justice, which we might well be. But you know, we just don't give a living fuck at this point - you'll forget about us in 3 months' time when there's a new scandal to gawk at, or a new shiny thing to click on via your 2D light-filled rectangle. People who can make things work better within this rectangle have power over others; the whitehats who charge $10,000 for something we could teach you how to do over the course of a weekend, providing you aren't mentally disabled.
+ 
+This is the Internet, where we screw each other over for a jolt of satisfaction. There are peons and lulz lizards; trolls and victims. There's losers that post shit they think matters, and other losers telling them their shit does not matter. In this situation, we are both of these parties, because we're fully aware that every single person that reached this final sentence just wasted a few moments of their time.
+ 
+Thank you, bitches.
+ 
+Lulz Security
+
+---
+
+Source: http://pastebin.com/HZtH523f    
+Date: JUN 17TH, 2011

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

@@ -0,0 +1,105 @@
+# 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/Hacker-Questions.txt

@@ -0,0 +1,20 @@
+A manifesto 
+
+
+http://opentranscripts.org/transcript/programming-forgetting-new-hacker-ethic/
+
+
+# Hacker Questions
+
+* ~~Access to computers should be unlimited and total.~~ Who gets to use what I make? Who am I leaving out? How does what I make facilitate or hinder access?
+
+* ~~All information should be free.~~ What data am I using? Whose labor produced it and what biases and assumptions are built into it? Why choose this particular phenomenon for digitization/transcription? What do the data leave out?
+
+* ~~Mistrust authority - promote decentralization.~~ What systems of authority am I enacting through what I make? What systems do I rely on? How does what I make support other people?
+
+* ~~Hackers should be judged by their hacking, not bogus criteria such as degrees, age, race or position.~~ What kind of community am I assuming? What community do I invite through what I make? How are my own personal values reflected in what I make?
+
+
+
+***
+

content/manifestos-tmp/new-clues.txt

@@ -0,0 +1,5 @@
+Internet Under Fire Gets New Manifesto
+“Personal is human. Personalized isn’t.”
+
+http://newclues.cluetrain.com/
+

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

@@ -0,0 +1,13 @@
+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
+

content/manifestos/1974-computer-lib.md

@@ -24,5 +24,6 @@ I am not a skillful programmer, hands-on person or eminent professional; I am ju
 
 I am "publishing" this book myself, in this first draft form, to test its viability, to see how mad the computer people get, and to see if there is as much hunger to understand computers, among all you Folks Out There, as I Ihink. I will be interested to receive corrections and suggestions for subsequent editions, if any. (The computer field is its own exploding universe, so I'll worry about up-to-dateness at that time.)
 
+---
 
-Nelson, Theodor. 1974. Computer Lib: You Can and Must Understand Computers Now; Dream Machines: New Freedoms Through Computer Screens— A Minority Report. Self-published. ISBN 0-89347-002-3.
+Nelson, Theodor. 1974. *Computer Lib: You Can and Must Understand Computers Now; Dream Machines: New Freedoms Through Computer Screens— A Minority Report.* Self-published. ISBN 0-89347-002-3.

content/manifestos/1991-cyberfeminist.md

@@ -0,0 +1,42 @@
+# Cyberfeminist Manifesto for the 21st Century
+
+We are the modern cunt
+
+positive anti reason
+
+unbounded unleashed unforgiving
+
+we see art with our cunt we make art with our cunt
+
+we believe in jouissance madness holiness and poetry
+
+we are the virus of the new world disorder
+
+rupturing the symbolic from within
+
+saboteurs of big daddy mainframe
+
+the clitoris is a direct line to the matrix
+
+VNS MATRIX
+
+terminators of the moral codes
+
+mercenaries of slime
+
+go down on the altar of abjection
+
+probing the visceral temple we speak in tongues
+
+infiltrating disrupting disseminating
+
+corrupting the discourse
+
+we are the future cunt
+
+![Cyberfeminist Manifesto for the 21st Century](../content/manifestos-img/1991-cyberfeminist.jpg)
+
+---
+
+Manifesto first declared by VNS Matrix     
+1991, Adelaide & Sydney, Australia

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

@@ -0,0 +1,39 @@
+# 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

@@ -0,0 +1,42 @@
+# 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/2001-07-hacktivismo-declaration.md

@@ -47,4 +47,4 @@ That state-sponsored censorship of the internet is a serious form of organized a
 
 That we will study ways and means of circumventing state sponsored censorship of the internet and will implement technologies to challenge information rights violations.
 
-Issued July 4, 2001 by Hacktivismo and the CULT OF THE DEAD COW. 
+Issued July 4, 2001 by Hacktivismo and the CULT OF THE DEAD COW. 

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

@@ -0,0 +1,83 @@
+# 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.
+
+Source: 
+
+https://nettime.org/Lists-Archives/nettime-l-0212/msg00136.html
+
+NOTE: A copy of the original manifesto (plus the definition and signatories which were 
+released at the same time) is preserved at: https://adam.nz/wireless-commons/

content/manifestos/2007-Zero-Dollar-Laptop.md

@@ -109,6 +109,9 @@ For technology to be a force for good, it should genuinely make its users more i
 The Zero Dollar Laptop Manifesto was written by James Wallbank in September 2007. The manfesto and its associated notes are published under a Creative Commons Attribution-Share Alike 2.0 UK: England & Wales License. \url{http://creativecommons.org/licenses/by-sa/2.0/uk/}
 
 
-Sources: 
-\url{https://robvankranenburgs.wordpress.com/2007/10/11/james-wallbank-says-the-zero-dollar-laptop-manifesto/}
-\url{https://jaromil.dyne.org/journal/zero_dollar_laptop.html}
+Sources:   
+
+https://robvankranenburgs.wordpress.com/2007/    
+10/11/james-wallbank-says-the-zero-dollar-laptop-manifesto/
+
+https://jaromil.dyne.org/journal/zero_dollar_laptop.html

content/manifestos/2007-avant-pop.md

@@ -0,0 +1,66 @@
+# Avant-Pop Manifesto
+
+**Thread baring itself in ten quick posts**
+
+
+### 1 
+
+Now that Postmodernism is dead and we're in the process of finally burying it, something else is starting to take hold in the cultural imagination and I propose that we call this new phenomenon Avant-Pop.
+
+### 2
+
+Whereas it's true that certain strains of Postmodernism, Modernism, Structuralism and Post-Structuralism, Surrealism, Dadaism, Futurism, Capitalism and even Marxism pervade the new sensibility, the major difference is that the artists who create Avant-Pop art are the Children of Mass Media (even more than being the children of their parents who have much less influence over them). Most of the early practitioners of Postmodernism, who came into active adult consciousness in the fifties, sixties and early seventies, tried desperately to keep themselves away from the forefront of the newly powerful Mediagenic Reality that was rapidly becoming the place where most of our social exchange was taking place. Despite its early insistence on remaining caught up in the academic and elitist art world's presuppositions of self-institutionalization and incestuality, Postmodernism found itself overtaken by the popular media engine that eventually killed it and from its remains Avant-Pop is now born.
+
+### 3
+
+Avant-Pop artists have had to resist the avant-garde sensibility that stubbornly denies the existence of a popular media culture and its dominant influence over the way we use our imaginations to process experience. At the same time, A-P artists have had to work hard at not becoming so enamored of the false consciousness of the Mass Media itself that they lose sight of their creative directives. The single most important creative directive of the new wave of Avant-Pop artists is to enter the mainstream culture as a parasite would sucking out all the bad blood that lies between the mainstream and the margin. By sucking on the contaminated bosom of mainstream culture, Avant-Pop artists are turning into Mutant Fictioneers, it's true, but our goal is and always has been to face up to our monster deformation and to find wild and adventurous ways to love it for what it is. The latter strains of Postmodernism attempted to do this too but were unable to find the secret key that led right into the mainstream cell so as to facilitate and accelerate the rapid decomposition of the host's body. This is all changing as the emerging youth culture, with its deep-rooted cynicism and nomadic movement within the "dance of biz", now has the power to make or break the economic future of decrepit late-capitalism.
+
+Avant-Pop artists themselves have acquired immunity from the Terminal Death dysfunctionalism of a Pop Culture gone awry and are now ready to offer their own weirdly concocted elixirs to cure us from this dreadful disease ("information sickness") that infects the core of our collective life.
+
+### 4
+
+Now whereas Avant-Pop artists are fully aware of their need to maintain a crucial Avant-sensibility as it drives the creative processing of their work and attaches itself to the avant-garde lineage they spring from, they are also quick to acknowledge the need to develop more openminded strategies that will allow them to attract attention within the popularized forms of representation that fill up the contemporary Mediascape. Our collective mission is to radically alter the Pop Culture's focus by channeling a more popularized kind of dark, sexy, surreal, and subtly ironic gesturing that grows out of the work of many 20th century artists like Marcel Duchamp, John Cage, Lenny Bruce, Raymond Federman, William Burroughs, William Gibson, Ronald Sukenick, Kathy Acker, the two Davids (Cronenberg and Lynch), art movements like Fluxus, Situationism, Lettrism and Neo-Hoodooism, and scores of rock bands including the Sex Pistols, Pere Ubu, Bongwater, Tackhead, The Breeders, Pussy Galore, Frank Zappa, Sonic Youth, Ministry, Jane's Addiction, Tuxedo Moon and The Residents.
+
+The emerging wave of Avant-Pop artists now arriving on the scene find themselves caught in this struggle to rapidly transform our sick, commodity-infested workaday culture into a more sensual, trippy, exotic and networked Avant-Pop experience. One way to achieve this would be by creating and expanding niche communities. Niche communities, many of which already exist through the zine scene, will become, by virtue of the convergent electronic environments, virtual communities. By actively engaging themselves in the continuous exchange and proliferation of collectively-generated electronic publications, individually- designed creative works, manifestos, live on-line readings, multi- media interactive hypertexts, conferences, etc., Avant-Pop artists and the alternative networks they are part of will eat away at the conventional relics of a bygone era where the individual artist- author creates their beautifully-crafted, original works of art to be consumed primarily by the elitist art-world and their business- cronies who pass judgement on what is appropriate and what is not.
+
+Literary establishment? Art establishment? Forget it. Avant-Pop artists wear each other's experiential data like waves of chaotic energy colliding and mixing in the textual-blood while the ever-changing flow of creative projects that ripple from their collective work floods the electronic cult-terrain with a subtle anti-establishment energy that will forever change the way we disseminate and interact with writing.
+
+### 5
+
+Avant-Pop artists welcome the new Electronic Age with open arms because we know that this will vastly increase our chances of finding an audience of like-minded individuals who we can communicate and collaborate with. The future of writing is moving away from the lone writer sitting behind a keyboard cranking out verse so that one day he or she may find an editor or agent or publisher who will hype their work to those interested in commercial literary culture. Instead, the future of writing will feature more multi-media collaborative authoring that will make itself available to hundreds if not thousands of potential associates around the world who will be actively internetworking in their own niche communities. Value will depend more on the ability of the different groups of artist-associates to develop a reputation for delivering easily accessible hits of the Special Information Tonic to the informationally-sick correspondent wherever he or she may be (one of the other great things about to make Avant- Pop the most exciting movement-chemistry of the 20th century and into the 21st Century is that our audience will be both immediate and global, all in one breath).
+
+Writers who continue to support an outmoded concept of the lone writer dissociated from the various niche communities at their disposal will eventually lose touch with the nanosecond speed at which the movement-chemistry wanders and will find their own work and its individually-isolated movement decelerating into turtle-like oblivion.
+
+Can you imagine what The Futurists would have done with an Information Superhighway?
+
+### 6
+
+Antonin Artaud, founder of The Theater of Cruelty, once said that "I am the enemy of the theater. I have always been. As much as I love the theater, I am, for this very reason, equally it's enemy." Avant-Pop artists are the enemy of pop culture and the avant-garde, both domains seemingly so far-fetched in a world that celebrates itself with live TV wars, rampant economic disenfranchisement and nanosecond identity changes. Our lineage, the bloodbath of cultural history we swim in, includes Artaud, Lautreamont, Jarry, Rimbaud, Futurism, Situationism, Fluxus, Abstract Expressionism, Henry Miller, Gertrude Stein, William Burroughs, Terry Southern, Surfiction, Metafiction, Postmodernism in all its gruesome details, Laugh-In, Saturday Night Live, Beavis and Butthead, SLACKER, Coltrane Miles Dizzy Don Cherry, feminist deconstruction, the list goes on. We will sample from anything we need. We will rip-off your mother if she has something we find appropriate for our compost-heap creations.
+
+### 7
+
+We don't give a shit about your phony social reality either. "Once upon a time" doesn't interest us whether your setting is the past (historical fiction), the present (contemporary classics) or the future (cyberhype). We prefer to lose ourselves in the exquisite realms of spacy sex and timeless narrative disaster, the thrill of breaking down syntax and deregulating the field of composition so that you no longer have to feel chained to the bed of commercial standardization. The emerging youth culture's ability to align itself with intuitive intelligence and non-linear narrative surfing is just one sign of where the Avant-Pop artist's audience is situated. Soon the Data Superhighway will finally once and for all do away with the high-priced middlemen, and artists will reap the benefits of their own hard-earned labor. The distribution formula will radically change from
+
+**Author - Agent - Publisher - Printer - Distributor - Retailer - Consumer**
+
+to a more simplified and direct
+
+**Author (Sender) - Interactive Participant (Receiver)**
+
+Avant-Pop artists and their pirate signals promoting wild station identifications are ready to expand into your home right now, just log on, click around and find them. It's all up to YOU, the interactive Avant-Pop artist/participant.
+
+### 8
+
+Postmodernism changed the way we read texts. The main tenet of Postmodernism was: I, whoever that is, will put together these bits of data and form a Text while you, whoever that is, will produce your own meaning based off what you bring to the Text. The future of Avant-Pop writing will take this even one step further. The main tenet that will evolve for the Avant-Pop movement is: I, whoever that is, am always interacting with data created by the Collective You, whoever that is, and by interacting with and supplementing the Collective You, will find meaning.
+In an Information Age where we all suffer from Information Sickness and Overload, the only cure is a highly-potent, creatively-filtered tonic of (yes) textual residue spilled from the depths of our spiritual unconscious. Creating a work of art will depend more and more on the ability of the artist to select, organize and present the bits of raw data we have at our disposal. We all know originality is dead and that our contaminated virtual realities are always already readymade and ready for consumption! In a nod to Duchamp's Armory Show scandal, the questions we need to ask ourselves are
+
+1. who are we sharing the cultural-toilet with and
+2. what are we filling it up with?
+
+### 9
+
+Avant-Pop artists are already doing a lot of this stuff already. It's impossible to name them all but a random sampling would include Mark Leyner, Ricardo Cortez Cruz, William Gibson, William Vollmann, Larry McCaffery, Ronald Sukenick, Kim Gordon, Doug Rice, Derek Pell, Kim Deal, Darius James, Lauren Fairbanks, Jello Biafra, Lisa Suckdog, Eurudice, Nile Southern, Takayuki Tatsumi, John Bergin, John Shirley, Bruce Sterling, Richard Linklater, Don Webb, The Brothers Quay, Lance Olsen, Curt White, Eugene Chadbourne, King Missile, David Blair, and many, many others.
+Without even knowing it, the Avant-Pop movement has been secretly generating interest and support for a few years now but has recently become more exposed with the successful breakthrough of the sub-pop alternative music scene, the publication of alternative trade paperbacks like Black Ice Books, and the release of low-budget alternative media projects like *Wax, Or The Discovery of Television Among the Bees*. The future of fiction is *now* as we, its most active practitioners, automatically unwrite it.
+
+Mark Amerika    
+Boulder, Colorado

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/2008-05-lo-fi-manifesto.md

@@ -21,7 +21,7 @@ Lo-fi production technologies are stable and free. They consist of and/or can re
 
 Despite their humble, decades-old base technology (plain text), innovative uses of lo-fi technologies can be remarkably hi-fi, as in the case of AJAX (whose most famous application may be Google’s Gmail service).
 
-## Lo-fi is LOFI
+## Lo-fi is LOFI
 
 “Lo-fi” describes a preferred set of production technologies that digital producers should strive to command, but as an acronym, LOFI outlines four principles of digital production that are essential for the advancement, extension, and long-term preservation of digital discourse:
 

content/manifestos/2008-07-Guerilla-Open-Access.md

@@ -24,4 +24,4 @@ With enough of us, around the world, we'll not just send a strong message opposi
 
 Aaron Swartz 
 
-July 2008, Eremo, Italy 
+July 2008, Eremo, Italy 

content/manifestos/2009-11-werebuild.txt

@@ -0,0 +1,54 @@
+# The WeRebuild Manifesto
+
+Instructions on how to build a cluster like Werebuild.eu and Telecomix.org.
+
+Dear internauts,
+
+We want to be copied because we believe that there is no limit to how many activist clusters there can be in the world. Below are some instructions on how we did it. Of course, there is a multitude of other ways to do it. We want to share our experiences. Thus, we publish this document. Copy!
+
+---
+
+1. Throw a party with friends who share similar interests. Cook some food if you like, or buy some beer, it is up to what you prefer. Make sure you have internet connectivity and encourage people to bring laptops. Play music. Or, if you do not have a place to entertain, find a pub or internet café that you can meet in and bring your laptops too.
+2. Start an IRC-channel and spread all over the internet that this is the place where stuff happens. Use a cool network such as Freequest or Anonnet. Get an IRC shell and dive in. “Your home is where your shell is” (who said that?).
+3. Gather friends with various skills. You will need coders as well as philosophers, people who know politics and people who know Photoshop. Make sure your friends know also how to have fun, since otherwise you won’t get anything done. Activism is not rocket science, so just spread out skills. Think multiplicity rather than expertise!
+4. Register sites with cool names, like Werebuild.eu and Telecomix.org. Make sure people can find you easily. Write with slogans.
+5. Become friends with important people. Contact politicians, bureaucrats, presidents, corporations, other activists, hackers, artists, etc. Do not have principles for selecting beforehand whom you speak to. Flirt a lot, but never do anything you would regret. Build trust, and make sure you work together. Politicians will need your votes, corporations will need your consumption. Understand that you are important, but do not become too self-important. Do things like watch movies together to keep your feet on the ground.
+6. Install Mediawiki, WordPress and use Etherpad. Also, fill your IRC-channel with bots. Share all data. Do not respect copyright! Do copy all floppies!
+7. Throw more parties. Invent vocabularies. Speak like lolcats. Make music together, even if it sounds strange.
+8. If you run into Internet trolls, troll back or make sure you kick them off your side of the internets. Or, be cooler than them, and make them join you (see, Troll them back). Do not let them make you sad.
+9. Start new political campaigns often. Call them raids, operations, projects or any word of choice. Write instructions and tutorials. Make sure a total newbie can understand what you are going to do. Synchronize your work. Countdown just like a space shuttle takeoff.
+10. Get together a list of clear and simple talking points, in the event that you have to “present” on the fly. Make sure that you have a few easy-to-remember facts to back up your statements. Make t-shirts to spur conversations with random people on the streets. Rent an airplane with a banner behind it to get an entire city asking “Who/what was that?” Then station people on street corners to explain. Send people to the moon and spraypaint your URL on the surface. <3.
+11. Install an artificial intelligence bot. Ours is called Cameron. Ask her lots of things. Quote Cameron in your conversations.
+12. Translate stuff to other languages. Remember that the Internet does not care about nation states. You never know who will join you if you go interNETional. Stamp your internet visa [1] in your passport.
+13. Statements are not only for stating things. Statements also makes things harder to forget. By sending out messages of events, activities and other tips you make them unforgettable and eternal. For instance, by making public reminders to people with power, you can change their agenda.
+14. Even if you are fighting against horrible laws, even if your mission seems impossible to accomplish – do not be sad! Lulz are as important as change. Your goal can be serious even if you do it for the lulz. Remember to smile when you are in the middle of a stormy campaign.
+15. Just, never be sad in general. It’s not very lolcat-like.
+16. Create a GIANT twitter network. Whenever you tweet something, have people retweet it, and ask their friends to retweet it as well… tweets multiply like bunnies. Always strive for “deep tweets”, i.e. make people retweet your message all over the world. Get in the habit of making your tweets very descriptive but concise, so people do not have to click a link to know if they are interested or not, they will be able to tell by what your tweet says.
+17. Don’t be obsessed with doing things “right”. Instead of thinking too much, tinker instead. Proceed by way of experimentation, try things out. If they fail, make sure to laugh a little, then try a different way. Collect experiences in your wiki, learn from the mistakes. Share all knowledge freely with others.
+18. Totally go for it fearlessly, while boldly sparking and nurturing collective bursts of supercharged play, inspired creative inventions and spontaneous depths of strategic fun. Do not be afraid to appear temporarily foolish. (!) Inspire the body-politic to incarnate creatively via totemized teleportation-flows of datalove.
+19. Make logos and have them look cool. Remix the logos of old government agencies. Use fractal patterns. In general, be a cyber hippie. Create symbols to dive in the channels. Be esoteric about botnet raids. If the channel splits, stay in the other side for a little while.
+20. Organize without a clear leadership or membership status. Have anyone joining your discussions be a part of your cluster. If they don’t agree, they will leave soon anyway. Organize like a gang or a pack. Don’t use pyramidal structures or formalized positions. Be nomadic in thought and associate yourself with many others.
+21. If it is within your means, travel a lot. Talk to people where ever you go, and tell them about what you are doing. Tell them to join you if they like the idea, thus creating a network within your country/region of the world, perhaps even internationally.
+22. Be open with everything you do, but affirm opennes to the extent that you will spread esoteric rumors about your group.
+23. Participate in mixed-reality video-streaming real-time of social-formations interconnected-at-a-distance-with netbound kinspersons. Visualize datalove formations and replications.
+24. Make sure your overall goal is world domination. Just do not invade Russia during the winter.
+25. Use Linux. Take Windows and Mac OS install CDs and use them as drink coasters. Or glue them to your ceiling shiney-side down, just to be cool.
+26. Start your own news agency. Make news, provide it to everyone and make sure they spread virally on the internet.
+27. Make communiques and fax them. Acknowledge that the telefax is the strongest communication media. Fax for lulz. Fax everything to everyone. Twice. When not faxing, make fax noises, just to seem like you are faxing. Consider the morse code too. Start typing up all your documents on type-writers, then scanning them and putting the images online. Use antiqueted forms of technology whenever you can, to be retro and ironic.
+27b. ctrl + c
+28. Join other activist groups. Invite them over and throw even more nice parties. Hospitality is imperative – your place is your friend’s place! And there is always a sofa to sleep on, where ever you go. Cluster!
+29. When invited to parliaments and governments, be self-confident. Remember, you are Internet, they are merely politicians and bureaucrats. Talk to them about tubes, trucks, jellyfishes and faxes, they will not understand anyway. You are from the future. Make sure you tell them that.
+30. Don’t forget Kopimi.
+31. When hanging out offline, keep using IRC-nicknames.
+32. Love your friends. Without them, everything fails. Make sure to send a lot of data love in between you.
+33. Feel and articulate imagined methodologies of planetary-oceanic-network-mind as telepathic-love connectivities enabling dramatic positive social change in the everyday world. Dream with move to AT&Atlantis, the Telcel World or just to became a jellyfish, that you are anyways.
+34. Learn new languages through twitter translation, translation bots in irc channels and by visiting activists in other countries. Say natti/buenas noches hallo/hej indistinctively. And remember that Swedish girls is the grej!
+35. Intertwine your projects and actions into the blogosphere. Find articles you do not like, then you write a critical reply and watch the comments accumulate. These comments will hopefully render more people writing about the issue at hand and it will be a good way to force concerned parties to create press releases or take back their statements. Do not underestimate the blogosphere.
+36. Become friends with people in mainstream media. Invite them to your IRC-channel. They will be hooked in no time at all. If you manage to get governments and corporations into your everyday work, make sure you treat them nicely and work together with them. Get heads of state to join your etherpad editing sessions/IRC channels. Remind them you’re the voters. However, if they betray you, make sure they know that the internet never forgets.
+37. Listen to your Artificial Intelligence bot: “This is the dance floor; love is the structure of the overall agreement in the agreed text.”
+
+This document is was originally developed in our wiki. Feel free to add more instructions as we go along. Also, this document must be copied. You have already, by reading it, copied it to your computer’s RAM. Do not hesitate to copy it once more by sending it to your local government, political party, social club, whatever…
+
+---
+
+source: https://obeveklig.wordpress.com/instructions-on-how-to-build-a-cluster-like-werebuild-eu-and-telecomix-org/

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/2010-0.txt

@@ -1 +1 @@
-\part{2010 - 2015}
+\part{2010 - 2014}

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

@@ -0,0 +1,41 @@
+# 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 Koehler
+Sabria David
+Joerg Blumtritt
+
+----
+
+Source: http://en.slow-media.net/manifesto

content/manifestos/2010-09-Open-Design.txt

@@ -0,0 +1,34 @@
+# Open Design Manifesto
+
+by Ronen Kadushin
+
+In today's market-driven culture, industrial designers commit themselves to producers in order to realize their creativity. Producers, with the power to control all aspects of a product, are the gatekeepers of design creativity, deciding what and how products are available to consumers.
+
+This situation begins in Industrial design education systems that train designers to integrate into an industrial production scenario and accept that producers have the right to regulate design and indoctrinate their set of values and ends. Fresh approaches and radical views are marginalized as they do not conform with the dogmas of the Church of Industrial Design.
+
+But other creative fields that found their products in phase with the realities of the Internet and information technology (fields such as music, communication design, animation photography, text, etc.) are experiencing an unprecedented flood of freely available creative content. Industries that once dominated these fields and have not adapted to this reality are quickly becoming redundant.
+
+Enter the Open Source method, one that revolutionized the software industry, created a viable economy, and gave birth to a flourishing social movement that is community-minded, highly creative and inclusive.
+
+A revolution in product development, production and distribution is imminent due to the Internet's disruptive nature and the easy access to CNC machines. Open Design is a proposal to make this happen. It's aim is to shift Industrial Design to become relevant in a globally networked information society.
+
+***
+
+Open Design method consists of two preconditions:
+
+1. An Open Design is CAD information published online under a Creative Commons license to be downloaded, produced, copied and modified.
+2. An Open Design product is produced directly from file by CNC machines and without special tooling.
+
+These preconditions infer that all technically conforming open designs and their derivatives are continuously available for production, in any number, with no tooling investment, anywhere and by anyone.
+
+***
+
+A new product and services market is a natural outcome of a network of designers, manufacturers, consumers and retailers using a common pool of open designs.
+
+The designer should always be acknowledged as the original creator and owner of the design, even in case of a derivative design. If an open design is produced for commercial use, the designer has to agree for such use and get paid.
+
+An open design value is increased with wider modification possibilities and transformation potentials into other products. Designs that typically live only a few years in the marketplace can live on and develop into new shapes and uses.
+
+Ronen Kadushin     
+September 2010    
+License: CC-BY

content/manifestos/2010-Dead-Drops.txt

@@ -4,6 +4,6 @@
 
 Free your data to the public domain in cement! Make your own Dead Drop now! Un-cloud your files today!!!
 
-Aram Bartholl 2010
+Aram Bartholl, 2010
 
 Source: \url{https://deaddrops.com/dead-drops/manifesto/}

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

@@ -0,0 +1,47 @@
+# 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 Celik 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.
+
+![Dave Winer's RSS-centric vision of a distributed web](../content/manifestos-img/2011-winer-schema.png)
+
+Winer will be first to admit that a distributed system like he imagines is still a little ways off, but as they say, the longest journey starts with a single step. For Winer EC2 for Poets is part of that first step. If you’ve never set up your own server, don’t even really totally understand what a server is, well, time to find out. Head on over to the EC2 for Poets site and you’ll have a server up and running fifteen minutes from now. The distributed web awaits you.
+
+----
+
+Source: 
+
+https://www.mail-archive.com/nettime-l@kein.org/
+msg02864.html
+
+http://www.webmonkey.com/2011/02/take-back-the-tubes/

content/manifestos/2012-06-03-iterative-book-development.md

@@ -1,26 +0,0 @@
-# Iterative Book Development Manifesto
-
-by Adam Hyde, June 26-27 2012 
-
-ok..so i have too much time in my hands...i was pondering the things we do in FLOSS Manuals in abstract and thought we could almost come up kind of short (shudder) manifesto for the kinds of methods we use for book production. I was trying to capture something that could encompass all the activities from Book Sprints to rolling manual development to remote update sprints etc etc etc
-
-so... here it is:
-
-## Iterative Book Development (IBD) Manifesto:
-
-We value:
-
-1. **Collaboration and facilitation** over ‘editors’ and ‘authors’
-2. **Engaged discourse** over isolation
-3. **Completed chunks** over incomplete volumes
-4. **Here and now production** over sometime soon production
-5. **Meaningful credit** for all contributors
-
-----
-
-Sources:
-
-- \url{http://lists.flossmanuals.net/pipermail/discuss-flossmanuals.net/2012-June/007446.html}
-- \url{http://lists.flossmanuals.net/pipermail/discuss-flossmanuals.net/2012-June/007465.html}
-- \url{http://blog.booki.cc/2012/06/iterative-book-development-manifesto/}
-- \url{https://web.archive.org/web/20131225055321/http://blog.booki.cc/2012/06/iterative-book-development-manifesto/}

content/manifestos/2012-06-03-iterative-book-development.txt

@@ -0,0 +1,26 @@
+# Iterative Book Development Manifesto
+
+by Adam Hyde, June 26-27 2012 
+
+ok..so i have too much time in my hands...i was pondering the things we do in FLOSS Manuals in abstract and thought we could almost come up kind of short (shudder) manifesto for the kinds of methods we use for book production. I was trying to capture something that could encompass all the activities from Book Sprints to rolling manual development to remote update sprints etc etc etc
+
+so... here it is:
+
+## Iterative Book Development (IBD) Manifesto:
+
+We value:
+
+1. **Contributors and facilitators** over ‘editors’ and ‘authors’
+2. **Collaboration** over indiviualised production
+3. **Here and now production** over sometime soon production
+4. **Meaningful credit** for all contributors over single author attribution
+
+----
+
+Sources:
+
+- http://lists.flossmanuals.net/pipermail/discuss-flossmanuals.net/2012-June/007446.html
+- http://lists.flossmanuals.net/pipermail/discuss-flossmanuals.net/2012-June/007465.html
+- http://blog.booki.cc/2012/06/iterative-book-development-manifesto/
+- https://web.archive.org/web/20131225055321/
+http://blog.booki.cc/2012/06/iterative-book-development-manifesto/

content/manifestos/2013-09-EPP-manifesto.md

@@ -68,5 +68,5 @@ The Manifesto of the European Pirate Party (PPEU) was finalized during a worksho
 
 ## Sources:     
 
-- \url{http://piratetimes.net/here-comes-the-european-pirate-party/} - August 18, 2013
+- http://piratetimes.net/here-comes-the-european-pirate-party/ - August 18, 2013
 - \url{http://ppeu.net/wiki/doku.php?id=statutes:manifesto} - Last modified: 2013/09/03

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/2014-03-balconism.md

@@ -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/2014-05-29-feminist-servers.txt

@@ -0,0 +1,28 @@
+# A feminist server manifesto 0.01
+
+A feminist server… 
+
+* Is a situated technology. She has a sense of context and considers herself to be part of an ecology of practices
+* Is run for and by a community that cares enough for her in order to make her exist
+* Builds on the materiality of software, hardware and the bodies gathered around it
+* Opens herself to expose processes, tools, sources, habits, patterns
+* Does not strive for seamlessness. Talk of transparency too often signals that something is being made invisible
+* Avoids efficiency, ease-of-use, scalability and immediacy because they can be traps
+* Knows that networking is actually an awkward, promiscuous and parasitic practice
+* Is autonomous in the sense that she decides for her own dependencies
+* Radically questions the conditions for serving and service; experiments with changing client-server relations where she can
+* Treats network technology as part of a social reality
+* Wants networks to be mutable and read-write accessible
+* Does not confuse safety with security
+* Takes the risk of exposing her insecurity
+* Tries hard not to apologize when she is sometimes not available
+
+---
+
+A few months after “Are You Being Served?” (December 2013) some of us met up in the Feminist Server Summit at Art Meets Radical Openness (AMRO <http://radical-openness.org>, 28.05 – 31.05.2014), ESC in Graz. The theme of this edition, Autonomy (im)possible sparked discussions on relationality, dependency and what that would mean for an (imaginary) Feminist Server. The following embryonic manifesto was written in response to these discussions.
+
+License: Free Art Licence
+
+Participants: Gloria, Reni Hofmüller, Julito, Klau, Donna Metzlar, Pin, Dick Reckard, Us(c)hi Reiter, Femke Snelting, Lucia Sombra, SpiderAlex, Sophie Toupin
+
+Source: http://areyoubeingserved.constantvzw.org/Summit_afterlife.xhtml

content/manifestos/2014-10-cybertwee.md

@@ -0,0 +1,23 @@
+# the cybertwee manifesto
+
+the singularity is dear.
+
+far too long have we succum to bitter edge of the idea that power is lost in the sweet and tender.
+
+romantic is not weak. feminine is not weak. cute is not weak. we are fragmented and multifaceted bbs.
+
+lack of emotion is oft favored because success is defined as the ability to be mechanical and efficient but sentimentality, empathy, and being too soft should not be seen as weaknesses.
+
+we see the limitations of corporeality, as solipsists, we know that the body is the original prosthesis for operating in this universe. we know the body illusory, we curate our candy our sucre sickly sweet is intentional.
+    
+our nectar is not just a lure    
+or a trap for passing flies   
+but a self indulgent intrapersonal biofeedback mechanism spelled in emoji and gentle selfies.
+
+![the cybertwee manifesto](../content/manifestos-img/2014-cybertwee-manifesto.png)
+
+---
+
+source: cybertwee.net / https://youtu.be/xMdiSUIpg50    
+date: October 2014    
+cybertwee is an arts collective co-founded in 2014 by artists gabriella hileman, violet forest, and may waver

content/manifestos/2015-0.txt

@@ -0,0 +1 @@
+\part{2015+}

content/manifestos/2015-01-21-Critical-Interface-Manifesto.md

@@ -0,0 +1,65 @@
+# Critical Interface Manifesto Work in Progress
+
+During the Arts Matters conference we adressed the manifesto that we are working on. It was explained that this Manifesto functions not only as a goal but also as the leit motiv of our research that crosses all the activities that have been done so far. All the workshops, conversations and lectures that we have organized have been nurturing the background of the *Critical Interface Manifesto*.
+
+This tool also constitutes the compass that guides us along the wide and heterogeneous bibliography that we’ve been reading and discussing.  Some of the books that we have highlighted to write the first Manifesto draft are:  “Interface Criticism: Aesthetics Beyond the Buttons” (Christian Ulrik Andersen, Soren Bro Pold), “the Interface effect” (Alexander Galloway) or “Evil Media” (Matthew Fuller, Andrew Goffey).
+
+We have also been looking at the wide tradition of Manifestos that exists in the fields of arts and technology. We consider some of them very inspiring like:
+
+-> *The GNU Manifesto* (1985), by Richard Stallman, an explanation and definition of the goals of the GNU Project (free software computer operating system). But also a fundamental philosophical source for the free software movement.
+
+-> *The Hacker’s Manifesto* (1986), by The Mentor aka Loyd Blankenship. It acts as a guideline to hackers across the globe, especially those new to the field. It serves as an ethical foundation for hacking, and asserts that there is a point to hacking that supersedes selfish desires to exploit or harm other people.
+
+-> *Mozilla Manifesto*, a  set of 10 principles that articulate a vision for the Internet a global public resource that must remain open and accessible.
+
+-> *The First Things First* manifesto, published in 1964 by Ken Garland. It was backed by over 400 graphic designers and artists and also was published in the Guardian newspaper. It is a reaction to the rich and affluent Britain of the 1960s, and it tried to re-radicalise a design industry which the signatories felt had become lazy and uncritical. It has been influences by the Critical Theory, the Frankfurt School and the counter-culture of the time. And it explicitly re-affirmed the belief that Design is not a neutral, value-free process. It was later updated and republished with a new group of signatories as the First Things First 2000 manifesto  by Adbusters magazine .
+
+-> *The Critical Engineering Manifesto* considers engineering to be the most transformative language of our time, shaping the way we move, communicate and think. It is the work of the Critical Engineer to study and exploit this language, exposing its influence.
+
+-> *The New Clues Manifesto*, is an update on fifteen years since the Cluetrain Manifesto, which has been  seminal in the development of the Internet. The authors emphasize that the Internet is not a medium nor is it content, it is a conversation.
+
+-> Even a *Manifesto for a Post-Digital Interface Criticism* exists, written by Pold and Andresen that of course has been an inspiration for us.
+
+What all these manifestos have in common is that somehow they try to fight the lack of ethics in the industry or in the economic system.  They also consider that technology should be used to expand our horizons. And at last, they invite us to thinking critically.
+
+So we are quite aware that there is loads of previous research done before we started this project. All of this begs some basic questions like why should we focus and produce a manifesto and how can we contribute to this field?
+
+Why to write a manifesto?
+
+Because as a Manifesto is a political declaration of intentions or views and  it seem appropriate to us to use this kind of output that stress the “political” aspect.
+
+If Interface design nowadays tends to hide the interface in order to be more user friendly giving the illusion of neutrality, by doing an Interface Manifesto we are stressing the “ideological” aspect of the interface.
+
+So one of the aims of the Critical interface Manifesto is to generate a discussion between those who are concerned about the need for criticism in Interface design and those who believe it should be ideology-free.
+
+With this motivations in our minds and after looking at all this references we tried to summarize the main ideas on a first draft. And these are some of statements that we agreed on:
+
+* I interface, you interface, we interface.
+* Interfaces are political objects.
+* An Interface is not a neutral space. Ideologies are always embeded in the interface, but those are not always visible.
+* The success of interface is defined not only by its ability to generate the interaction, but to have the user to understand  how this interaction occur and the set of rules that the determine the interaction.
+* As a tool the interface should provide the acknowledge of its own shape and limits.
+* We need to feel the presence of the interface while accessing the content on the other side.
+* Freedom of use implies knowledge and to be consequent.
+* Interfaces can also be honest and simple.
+* Code is part of the interface.
+* You can claim the right to know and understand without having to really know about each interface.
+* Design is emotional, functional and political. Interfaces are designed. (D. Norman)
+* Interfaces can be potentially everything, objects, movements, behaviors, spaces, sounds…
+
+Taking in account this political tradition of Interfaces, we would say that a Manifesto embedded in its shape its political intention. So one of our challenges and hopefully our contribution to this field would be to transform the previous statements into an interface.
+
+How can we do this? During the work session we focused not only on the contents but on questions related to the formal aspects of the manifesto that posed some dilemmas such as: should we strive for simplicity and clarity or rather should we try to be creative and poetic?
+
+And if Manifesto itself will be an interface how can we design a coherent Manifesto so it can contain its ideology embedded on its own interface?
+
+We have designed two future events that will help us to solve some of these doubts and to keep on working on the development of the manifesto:
+
+—> 1st  Booksprint:  this is a methodology that brings together a group to produce a book in 3-5 days. There is no pre-production and the group is guided by a facilitator from zero to published book. During this event we would like to finish not a book but the Manifesto and we’d like to invite some researchers and  designers to think together how can we develop that Manifesto whose shape, structure, matter will be coherent with its ideas.
+
+—> 2nd MEMBRANA: an open call to support a visual artist interested in developing an artwork based on the concept of interface. The artist will develop his/her project during a six weeks residency at Hangar (Barcelona). He/she will also be invited to participate in the ongoing investigation of the PIPES_BCN research group which involves the drafting of a Critical Interface Manifesto.
+
+Clara Piazuelo 
+
+Source: https://web.archive.org/web/20150709235918/    
+http://pipes.hangar.org/critical-interface-manifesto-work-in-progress/

content/manifestos/2015-01-new-clues.md

@@ -49,7 +49,7 @@ January 8, 2015
 
 1. The Internet is not made of copper wire, glass fiber, radio waves, or even tubes.
 2. The devices we use to connect to the Internet are not the Internet.
-3. Verizon, Comcast, AT&T, Deutsche Telekom, and 中国电信 do not own the Internet. Facebook, Google, and Amazon are not the Net’s monarchs, nor yet are their minions or algorithms. Not the governments of the Earth nor their Trade Associations have the consent of the networked to bestride the Net as sovereigns.
+3. Verizon, Comcast, AT&T, Deutsche Telekom, and China Telecom do not own the Internet. Facebook, Google, and Amazon are not the Net’s monarchs, nor yet are their minions or algorithms. Not the governments of the Earth nor their Trade Associations have the consent of the networked to bestride the Net as sovereigns.
 4. We hold the Internet in common and as unowned.
 5. From us and from what we have built on it does the Internet derive all its value.
 6. The Net is of us, by us, and for us.

content/manifestos/2015-07-xenofeminism.txt

@@ -1,6 +1,6 @@
 # Xenofeminism
 
-## A politics for alienation
+## A politics for alienation
 
 ### ZERO
 
@@ -87,7 +87,7 @@ two-way dependency.  It names reason as an engine of feminist emancipation,
 and declares the right of everyone to speak as no one in particular. 
 
 
-### INTERRUPT
+### INTERRUPT
 
 
 #### 0x05 
@@ -165,17 +165,17 @@ anticipate its systemic condition responsively.
 XF rejects illusion and melancholy as political inhibitors.  Illusion, 
 as the blind presumption that the weak can prevail over the strong with no 
 strategic coordination, leads to unfulfilled promises and unmarshalled 
-drives.  This is a politics that, in wanting so much, ends up building so 
-little.  Without the labour of large-scale, collective social organisation, 
+drives. This is a politics that, in wanting so much, ends up building so 
+little. Without the labour of large-scale, collective social organisation, 
 declaring one's desire for global change is nothing more than wishful 
-thinking.  On the other hand, melancholy -- so endemic to the left -- teaches 
+thinking. On the other hand, melancholy -- so endemic to the left -- teaches 
 us that emancipation is an extinct species to be wept over and that blips of 
-negation are the best we can hope for.  At its worst, such an attitude 
+negation are the best we can hope for. At its worst, such an attitude 
 generates nothing but political lassitude, and at its best, installs an 
 atmosphere of pervasive despair which too often degenerates into factionalism
 and petty moralizing.  The malady of melancholia only compounds political
 inertia, and -- under the guise of being realistic -- relinquishes all 
-hope of calibrating the world otherwise.   It is against such maladies that 
+hope of calibrating the world otherwise. It is against such maladies that 
 XF innoculates. 
 
 
@@ -286,7 +286,7 @@ generic, which is to say, intersectional.  Intersectionality is not the
 morcellation of collectives into a static fuzz of cross-referenced 
 identities, but a political orientation that slices through every 
 particular, refusing the crass pigeonholing of bodies.  This is not a 
-universal that can be imposed from above, but built from the bottom up  --  
+universal that can be imposed from above, but built from the bottom up -- 
 or, better, laterally, opening new lines of transit across an uneven 
 landscape.  This non-absolute, generic universality must guard against the 
 facile tendency of conflation with bloated, unmarked particulars -- namely 
@@ -358,7 +358,7 @@ task of revision, release the reins and slacken that tension, and these
 filaments instantly dim. 
  
 
-### CARRY
+### CARRY
 
 
 #### 0x13 
@@ -368,8 +368,8 @@ repressive gender regimes, generating solidarity among marginalised groups,
 and creating new spaces for experimentation that ignited cyberfeminism in 
 the nineties has clearly waned in the twenty-first century.  The dominance of 
 the visual in today's online interfaces has reinstated familiar modes of 
-identity policing, power relations and gender norms in self-representation.  
-But this does not mean that cyberfeminist sensibilities belong to the past.  
+identity policing, power relations and gender norms in self-representation. 
+But this does not mean that cyberfeminist sensibilities belong to the past. 
 Sorting the subversive possibilities from the oppressive ones latent in 
 today's web requires a feminism sensitive to the insidious return of old 
 power structures, yet savvy enough to know how to exploit the potential.  
@@ -458,7 +458,7 @@ intricate network of transits between these polarities.  As pragmatists, we
 invite contamination as a mutational driver between such frontiers. 
 
 
-### OVERFLOW
+### OVERFLOW
 
 
 #### 0x18 
@@ -511,4 +511,8 @@ If nature is unjust, change nature!
 
 ---
 
+July 2015
+
+License: GNU Free Documentation License
+
 Source: http://www.laboriacuboniks.net/

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

@@ -0,0 +1,37 @@
+# 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/2015-08-we-lost.txt

@@ -1,4 +1,4 @@
-# "We Lost"
+# We Lost
 
 Ten years separate the talk given by Frank Rieger and Rop Gonggrijp at the 2005 Chaos Communication Congress in Berlin and the one given by Peter Sunde of Piratbyrån and The Pirate Bay at Transmediale in the same city in 2015, but their message is the same --- we lost. We, who believed the Internet could change society, that technology could take other paths than surveillance, centralization and consumerism. The battle is lost and the juggernaut of the security industry, power and capital has been unable to stop.
 

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

@@ -0,0 +1,107 @@
+# Art after failure
+
+## an artistic manifesto from the city of Bangalore
+
+### 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.
+
+While interrogating our own artistic production, we want to define its style and ethos within what we tentatively name the Post Fail. As in Post Internet, here "post" means many different things at the same time. First, our art orbits around the **after failure** moment of the teleological narratives of technological development, in regards to both their enthusiastic and pessimistic visions. We assume that, in the long run, both utopian and dystopian narratives will disappoint, leaving us with much more mundane and varied realities. For example, we have recently approached drones and unmanned vehicles of different kinds. In recent times, these technologies have become common use products, mostly sold as toys. But drones are also presented by advertisers and enthusiasts as one of the most relevant technologies of the near future, as we are now allegedly leading towards a world in which deliveries and civil surveillance, movie production and warfare, will all be carried with and thanks to drones. In this case, we prefer to focus not exactly on the promise itself, but on the present moment in which we can already imagine that what we are told (mostly by the sellers of those technologies) is unlikely to happen, and definitely not through a smooth and uniform process.
+
+Secondly, Post Fail also signifies that our art should be understood as taking place after acknowledging the failure of many of the post-whatever theories of the last decades. Many of the discourses that have been trying to make sense of contemporary art through a post-whatever condition, that we should all allegedly be sharing, have been hiding many of the contradictions and complexities of the present moment, of the when and where of their formulation. We want to investigate the complexities of the present more than anything else, including our own involvement in the production of discourses about such notion of the present. We find it difficult not to consider that what we do happens in a specific time, and that even if we talk about the future or the past we always do it from a specific temporal, cultural and geographical context. Post Fail means, as it will be argued, acknowledging the temporality of enunciation and the bodies it solicits and involves.
+
+Finally, Post Fail might mean, perhaps with a slightly ironical twist, that we, IOCOSE, live and work in a constant state of **postal failure**. Being dispersed over three different cities, and communicating through e-mail, shared documents, cloud storage and VOIP technologies, we have come to accept the failure of communication as part of our work process. A failure we are perfectly fine with and which we like to dwell in, but that we also need to address when understanding our own practice. Internet is not just part of our everyday lives; it is also the essential condition that makes IOCOSE possible. With no internet connection we would simply not exist. We are IOCOSE during Internet, not after it (we need to communicate between ourselves to make things happen) and not before it (we cannot work together without Internet connection). Our art originates from all the misunderstandings, slowness and interruptions that distant communication brings with it.
+
+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
+
+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.
+
+If Bangalore, with the possible exception of its most luxurious areas, is poor, slow, dirty, old and noisy, the E-city is instead rich, fast, clean, new and silent. Bangalore is chaotic, while the E-city is restrained. The E-city and its surrounding area is where everyone, according to the billboards that surround Bangalore, wants to live. The E-city has in fact a strictly Western style of architecture, a style that is (gated and) branded as luxurious and ambitious. One of the neighbourhoods built around the E-city is called Melrose Place, and it is in fact constructed in a way that should mimic the houses of the famous television series of the same name.
+
+If Bangalore is flat with compounds that extend beyond the records of the official mapping of the city, the E-city is presented as "elevated"; an elevation of the E-city that is created and constantly reminded in the advertisements of the real estate agencies. Living in a Californian-style gated community is a way of elevating yourself, as billboards remind us. The process of self-elevation is not only physical (living on a skyscraper) but also spiritual. It means being detached from the rest of the world. It brings to a successful living, as a famous advertisement campaign from clothing company Diesel epitomised many years ago.
+
+Many other architectural interventions in the city replicate the semantic opposition between elevation and flatness. The buildings around the E-city, developed to host those who work there, search for the sky, or at least for a physical detachment from the ground. According to a urban legend that we have heard more than once while being there, while the E-city was still in an embryonic stage an important figure of the IT business confessed to the entourage of the mayor of Bangalore that the promiscuity with the locals was seriously undermining the fostering of the IT economy in the area. In fact, the man explicitly suggested building a flyover highway to connect the city centre with the new E-city, so that traffic to the business centre would be faster. More importantly, he said that you cannot pretend to be a global leader if, between the time you wake up and the time you are at work, you are reminded of the poverty of the people around you. The flyover was suggested as a solution for detaching once and for all the engineers of the IT businesses from the average citizens of Bangalore. The city administration started, immediately after this conversation, the construction of a flyover highway: a little-big architectonic monstrosity that crosses the entire city and works as a reminder of how the efficiency of production can combine with class discrimination.
+
+The Bangalore *Elevated Tool Way*, also known as Hosur Road, is part of the more extended National Highway number 7. The tool way connects the area of Silk Board and the E-city and crosses good part of the city, by passing over it. The toll costs approximately 70 Indian rupees. Not much, but enough to take the less wealthy citizens out of it. In about ten minutes it lets you cross a path that would otherwise take more than an hour, because of the traffic and wrecked conditions of the streets. It extends for more than 10Km and it has been inaugurated in 2010, less than five years ago.
+
+The elevated toll way is born out of a dream for smooth transportation deprived of unforeseen consequences. In a similar fashion, the companies of the E-city base their entire businesses on the possibility of communicating with the offices in California, Europe or Asia, through data transmission that must be altered by noise of any kind. It is easy to draw a comparison between the modalities of work of the E-city and the elevated toll way. In both cases contaminations, disturbances and unplanned alterations are unwanted. As the "global leaders" of the E-city keep their status uncontaminated throughout the day, so the work produced within the E-city has to be sent and received with no corruptions of any kind.
+
+It is not a coincidence that the E-city has an extraordinary cleanness. The entrance to the office area is surrounded by a gate, and access is restricted to the workers and their family members. However, it is possible to see from the outside that around the offices and within the gated space there are plenty of green areas, with fountains and flat roads. None of these things can normally be found in the rest of the city (a part from the botanical gardens).
+
+It is quite clear from a few visits that in Bangalore Internet still *matters*. Internet, and particularly information technology business, here generates an economy that is visible from the architecture and distribution in the city area of the various social classes. Internet changes the shape of the city of Bangalore. It also changes the dreams and expectations of the population. However, the dreams associated with the digital revolution of Bangalore have to do with the expectations of a clean, smooth, fluid Californian style of living, a possibility that can be achieved only through elevation and detachment (by moving on a highway, living on a skyscraper, working in a gated office and so on).
+
+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
+
+> Not to lie about the future is impossible and one can lie about it at will
+
+*(Naum Gabo, quoted by Barbrook and Cameron, 1996)*
+
+In the seminal essay ‘The Californian Ideology’, Barbrook and Cameron effectively pointed out how the development of an Internet economy is far from being a purely economic and technological shift. It is entwined with ideological statements that have been the basis for a new kind of liberalism, one that puts the individual, and a certain idea of personal freedom, at its centre.
+
+Produced around a vision of the future, such ideology appears to be oriented towards a future collective condition in which anyone, from anywhere in the world, will be able to express herself thanks to online and digital technologies. However, as the authors argue, narratives about the future have a strong ideological force because they overlook the partiality of the speaker. By offering a prediction on what the future could be, they become persuasive strategies about what should be done at the present. They influence the political economy of the present. And in Bangalore (often defined to the outsiders as the Silicon Valley of India), a specific narrative of the future has been used to enforce a neo-liberal economy based on infrastructure investments.
+
+The narrative of the future that is changing the city of Bangalore suggests, for example, that one should commute to the E-city by flying over the rest of the city, using a purposefully built tolled highway. We can compare this to similar arguments that have been proposed to drive and manipulate policy changes in the immediate present. If we think at the drones phenomenon, we are often told that because drones will soon deliver parcels to our flats their use must be liberalised now (possibly also allowing surveillance companies and urban police to deploy a soon-to-be-familiar technology in our cities). We are also told that in the future every movement of our body will be monitored and tracked to prevent health issues, therefore quantified-self technologies must be financed and marketed now, so as to allow the future to happen. Those who tell these stories tend to appear as neutral speakers, sometimes supported by supposedly scientific facts to prove their point (TED talks are an excellent example of this rhetoric in which data is that which allows a transparent view into the future). The apparent neutrality of these discourses on the future of technological progression encourages immediate changes; changes that are far from neutral and affect the lives of many.
+
+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
+
+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.
+
+We can take as a starter the seminal text by Artie Vierkant ‘The Image Object Post-Internet’. Here Post-Internet art is defined as ‘a result of the contemporary moment: inherently informed by ubiquitous authorship, the development of attention as currency, the collapse of physical space in networked culture, and the infinite reproducibility and mutability of digital materials’ (2010: 3). In Vierkant’s text there seems to be a clear understanding of what the contemporary moment is. Internet is, in this context, taken for granted, considered as a given which has now permeated the lives of a generation. The idea of the author is to adapt our perception and artistic production towards this new condition which we are all allegedly sharing, blurring the separation between images and objects in a scenario in which the image of the artwork is in fact already the artwork.
+
+Similarly, David Joselit, in *After Art*, presents what he considers to be the contemporary mode of production and fruition of images. This condition has, according to the author, changed the evaluation of art and artworks. His text starts by quoting in the first page a comment that Donald Rubell, an art collector, made to the New York Times. Rubell says that ‘people are now realizing that art is an international currency’ (quoted in Joselit 2013: 3). This over generic statement about what people are now doing is not critiqued by Joselit, but used instead as the rationale for proposing a new mode of doing art: ‘what results after the “era of art” is a new kind of power that art assembles through its heterogeneous formats’ (91).
+
+According to Jesse Darling (and Nicholas Mirzoeff) instead, the *post* of Post-Internet indicates that art happens at ‘the crisis of’ the Internet, not as a successor to it. Also, Darling states that ‘every artist working today is a postinternet artist’ (Darling 2014).
+
+Indeed, Post-Internet can also be interpreted differently. ‘Post’ can also mean, maybe more simply, ‘doing art after being online’, as proposed by Marisa Olson in the original formulation of the Post-Internet (Cornell 2006). Post-Internet can also be seen, more broadly, as also including the new forms taken by the artistic investigations started by the net art movement, which tend to avoid replicating similar narratives of historical progression, at the cost maybe of being less accepted by the art market (Quaranta 2015). What we want to stress is that the works of authors such as Vierkant, Joselit and Darling tend to generate universal narratives of temporal and technological progression. Most importantly, these authors mentioned above do not reflect on the plurality of things that Internet *does*, and instead they speculate on what Internet supposedly is. It should appear quite obvious, for example, that art is a currency mostly for people like David Rubell, quoted by Joselit, and probably also for some of his friends. For the rest of the world it simply is not. In other words, these stories about who and where we are now, and what we are all doing, these common sense visions of our engagement with art and media hide the fact that someone is saying these stories, and that the act of telling is embedded in a political, cultural, economic scenario which is far from being obvious, or given.
+
+What we are arguing is that Post-Internet as a movement, as varied and complex as it is, might work for the context of art criticism (particularly in those cases when it is presented also for its theoretical limitations). What is most worrying, for us, is how theories on the Post-Internet appear to derive from a common-sense understanding of how the world is, how it works and how we live in it. Of course, the common-sense logic is helpful when trying to make things simple and accessible to our understanding. But, within these conditions, we are going to prefer the *misunderstandings*: the failures, the disappointments, the events that complicate our expectations on what Internet, technologies and human beings are doing, or could be doing.
+
+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
+
+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:
+
+* To accept that the future is (always?) a story we tell ourselves in the present time, and a story that is formulated in specific moments and received via specific bodies that are located in history.
+* To accept that these very visions of the future will somehow disappoint, be them apocalyptic or as enthusiastic discourses, because there is not one single direction we are going to – and probably we are not even going anywhere.
+* 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.
+
+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 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.
+
+Clearly the rhetoric of elevation used by the real estate business in Bangalore is nothing but democratic, instead it is another way of promoting division and unfairness. With Elevated Bangalore we are trying to join in the blatant artificiality of the promises of technological and social progress that many IT companies are now replicating in Bangalore. Promises that sound similar to those used to discuss and promote digital software such as Photoshop, used to alter these images, and often advertised as tools that have changed our ways of seeing the world. The dream of an elevated Bangalore might actually improve the lives of the citizens of the city. What matters now, for us, is how this tension towards elevation generates a sort of collective hallucination, a hallucination which is also tangible throughout the city. We believe that such hallucinations need to be addressed through a Post Fail approach, one that acknowledges and takes responsibility of the place and time of its intervention, accepts its limitations and yet, somehow, still tries to play the music.
+
+#### List of references
+
+Barbrook, R. and Cameron, A. (1996) 'The Californian Ideology'. The Hypermedia Research Centre, [http://www.hrc.wmin.ac.uk/hrc/theory/californianideo/index/t.4.html](http://www.hrc.wmin.ac.uk/hrc/theory/californianideo/index/t.4.html), [Last accessed 13/03/2015]
+
+Cornell, L. (2006) 'Closing the gap between art and life online', Time Out New York,[http://www.timeout.com/newyork/art/net-results](http://www.timeout.com/newyork/art/net-results) [Last accessed 13/03/2015]
+
+Darling, J. (2014) ‘Post Whatever: on Ethics, Historicity, & the #usermilitia’, Rhizome.org, [http://rhizome.org/editorial/2014/dec/16/post-whatever-ethics-historicity-usermilitia/](http://rhizome.org/editorial/2014/dec/16/post-whatever-ethics-historicity-usermilitia/)[Last accessed 13/03/2015]
+
+Joselit, D. (2013) After Art, Princeton University Press
+
+Nair, J. (2005) The Promise of the Metropolis: Bangalore's Twentieth Century, Oxford University Press
+
+Quaranta, D. (2015) 'Situating Post Internet', in Media Art. Toward a New Definition of Art in the Age of Technology, ed. by Valentino Catricalà, Pistoia (Italy): Gli Ori
+
+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*

content/manifestos/2015-open-web-index.txt

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+# Open Web Index Manifesto
+
+## One search engine is not enough!
+
+Europe’s digital economy and civil society are virtually dependent on non-European businesses. This is particularly evident with regard to search engines, the cornerstone of our digital information infrastructure. Google currently dominates the market, leading to dependencies and economic damage that are no longer acceptable.
+
+If we were to apply the present situation in the digital world to the mass media, we would find ourselves with only one television channel as the sole source of information for the public. Businesses would also be dependent on this channel, as it would be the only available outlet for their advertising.
+
+Such a situation contradicts the pluralism of our Western democratic societies. Pluralism must also be reflected in a diversity of information systems.
+
+The market has failed in this respect. For more than ten years, we have been dependent on a single search engine, and no other company has been able to challenge it. We do not foresee the market regulating itself in the future.
+
+## An open index of the web would set the stage for information autonomy in europe’s economy and society
+
+Restoring choice to the search engine market will mean putting prerequisites in place at the European level as a foundation for pluralism and competing search engines. Merely establishing a publicly funded competing search engine would not be appropriate, as this would only create a further monolithic structure.
+
+The open source, open access and open data communities were essential to enabling the web as we know it today and have become the main drivers of the digital economy. A further key element that we currently lack is open access to the information distributed across the web.
+
+To be clear, we are not seeking a government-funded alternative search engine – we want to enable innovation in the business world and civil society by providing searchable web data.
+
+## Our objective: an EU-funded global index of the web
+
+The key to a European digital information infrastructure would be an EU-funded, global, searchable index of the web open to competing companies, institutions and civil-society actors.
+
+There is no alternative to public funding for such a project. Unlike the early years of the web, the present volume of data and growing complexity of the internet means that even major corporations and organizations do not have the financial resources to establish such an index.
+
+The new index could form the basis for general and specialized search engines, analysis tools and many other applications. Any system based on the index would be free to develop its own business model.
+
+As the key to tapping the world’s collective knowledge, the index must be set up and provided as a universally accessible element of public information infrastructure unaffected by commercial interests, not unlike public broadcasting.
+
+Once it is in place, institutions, businesses and civil-society actors will be able to provide innovative services based on the index and compete in delivering the best ideas for its use. The search engine landscape would thus be transformed from the monopoly of a private company to a pluralistic cooperation that would not be at the mercy of a national government or a single business entity.
+
+**The signatories call on all actors of the European Union to jointly create the preconditions for independence, diversity and autonomy in Europe’s information infrastructure through an open index of the web.**
+
+Read, share and sign the manifest for an open web index at http://openwebindex.eu/
+
+Initated by:
+
+- Prof. Dr. Dirk Lewandowski, Hamburg University of Applied Sciences
+- Prof. Dr. Volker Grassmuck, Leuphana University of Lüneburg
+- Dr. Philipp Mayr, GESIS – Leibniz-Institute for the Social Sciences
+- Sebastian Sünkler, Hamburg University of Applied Sciences
+- Agata Królikowski, Leuphana University of Lüneburg
+- Lambert Heller, German National Library of Science and Technology
+- Dr. Wolfgang Sander-Beuermann, SUMA-EV
+- René König, Karlsruhe Institute of Technology

content/manifestos/9998-authors.md

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+\afterpage{\null\thispagestyle{empty}\newpage}
+
+\part{Authors}
+
+Listed in alphabetical order.
+
+**Morehshin Allahyari** - artist, co-author of *The 3D Additivist Manifesto* (2015).
+
+**Mark Amerika** - author of the *Avant-Pop Manifesto* (2007).
+
+**Anonymous** - collective, author of *We are Anonymous* (2008).
+
+**John Perry Barlow** - author of *A Declaration of the Independence of Cyberspace* (1996)
+
+**Aram Bartholl** - artist, author of the *Dead Drops Manifesto* (2010).
+
+**Kent Beck** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Arie van Bennekum** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**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).
+
+**Alistair Cockburn** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Laboria Cuboniks** - author of the *Xenofeminist Manifesto* (2015).
+
+**Cult of the Dead Cow** - collective, collective, co-author of the *Hacktivismo Declaration* (2001).
+
+**Ward Cunningham** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**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 
+
+**Magnus Eriksson** - co-author of *We Lost* (2015). 
+
+**European Pirate Party (PPEU)** - collective, author of the *Manifesto of the European Pirate Party* (2013). The manifesto was finalized during a workshop at the conference of PPEU held on 27-28 July 2013 in Warsaw, Poland.
+
+**Martin Fowler** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**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). 
+
+**James Grenning** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Hacktivismo** - collective, co-author of the *Hacktivismo Declaration* (2001).
+
+**Lambert Heller**, German National Library of Science and Technology. Co-initator of the *Open Web Index Manifesto* (2015). 
+
+**Carola Hesse** - co-author of the *CryptoParty Manifesto* (2012). 
+
+**Jim Highsmith** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Gabriella Hileman** - artist, co-author of the *cybertwee manifesto* (2014).
+
+**Brendan Howell** - co-author of the *CryptoParty Manifesto* (2012).
+
+**hugoroy** - author of the *user data manifesto* (2013).
+
+**Andrew Hunt** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Adam Hyde** - artist, founder of FLOSS Manuals, author of the *Iterative Book Development Manifesto* (2012), facilitator of the *CryptoParty Manifesto* (2012).
+
+**IOCOSE** - collective (Ruffino P., Cremonesi M., Cuttica F., Prati D.), authors of the *Art after failure: an artistic manifesto from the city of Bangalore* (2015).
+
+**Jaromil** - author of a forum post referred to as *The Bitcoin Manifesto* (2011).
+
+**Ron Jeffries** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Jon Kern** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**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).
+
+**Robert C. Martin** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Dr. Philipp Mayr** - GESIS – Leibniz-Institute for the Social Sciences. Co-initator of the *Open Web Index Manifesto* (2015). 
+
+**Steve Mellor** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Rosa Menkman** - artist, author of the *Glitch Studies Manifesto* (2009).
+
+**minirézo** - collective, author of the *Manifeste du Web indépendant* (1997).
+
+**Theodor Nelson** - author of *Computer Lib* (1974).
+
+**Brian Newbold** - co-author of the *CryptoParty Manifesto* (2012).
+
+**Julian Oliver** - artist, co-author of the *Critical Engineering Manifesto* (2011) and the *CryptoParty Manifesto* (2012).
+
+**Marta Peirano** - co-author of the *CryptoParty Manifesto* (2012).
+
+**Bre Pettis** - artist, co-author of *The Cult of Done Manifesto* (2009).
+
+**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). 
+
+**Ken Schwaber** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Doc Searls** - co-author of *New Clues* (2015).
+
+**Edward Snowden** - author of *A Manifesto for the Truth* (2013).
+
+**Richard Stallman** - author of the GNU Manifesto (1985).
+
+**Kio Stark** - co-author of *The Cult of Done Manifesto* (2009).
+
+**Karl Stolley** - author of the *Lo-Fi Manifesto* (2008).
+
+**Sebastian Sünkler**, Hamburg University of Applied Sciences. Co-initator of the *Open Web Index Manifesto* (2015). 
+
+**Jeff Sutherland** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Aaron Swartz** - author of the *Guerilla Open Access Manifesto* (2008).
+
+**Swedish Piratpartiet** - author of the *Uppsala Declaration* (2008).
+
+**Dave Thomas** - co-author of the *Manifesto for Agile Software Development* (2001).
+
+**Danja Vasiliev** - artist, co-author of the *Critical Engineering Manifesto* (2011) and the *CryptoParty Manifesto* (2012).
+
+**VNS Matrix** - arts collective, author of the *Cyberfeminist Manifesto for the 21st Century* (1991).
+
+**James Wallbank** - Coordinator of Redundant Technology Initiative. Author of the *Lowtech Manifesto* (1999) and the *Zero Dollar Laptop Manifesto* (2007).
+
+**May Waver** - artist, co-author of the *cybertwee manifesto* (2014).
+
+**David Weinberger** - co-author of *New Clues* (2015).
+
+**WeRebuild** - collective, author of *The WeRebuild Manifesto* (2009).
+
+**Asher Wolf** - co-author of the *CryptoParty Manifesto* (2012).

content/manifestos/9999-end.txt

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 \vspace*{\fill}
 
 Version 0.0 edited March 6-7 2015 at Fahrenheit39    
-Version 0.1 released March 11 2015    
-Version 0.2 released March 24 2015    
-Version 0.3 released May 2015    
-Version 0.4 released June 2015    
-Version 0.5 released September 2015    
-Version 0.6 (current) released February 2016
+Version 0.1 - March 11 2015    
+Version 0.2 - March 24 2015    
+Version 0.3 - May 2015    
+Version 0.4 - June 2015    
+Version 0.5 - September 2015    
+Version 0.6 - February 14 2016    
+Version 0.7 - February 18 2016     
+Version 0.8 - July 21 2016  
+Version 0.9 (current) released January 23 2017
 
 Greyscale Press
 

content/meta.txt

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 ---
-title: 'Manifestos'
+title: |
+  Manifestos for the             
+  Internet Age
 lang: en
 ---

cover/cover-v7.sla

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cover/cover-v8-neu.sla

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cover/cover-v8.sla

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+            <ITEXT FONT="Limousine Medium" FONTSIZE="18" FCOLOR="White" CH="Manifestos for the internet age"/>
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+            <ITEXT FONT="Limousine Medium" FONTSIZE="18" FCOLOR="MagentaWeb" CH="The book you’re about to read has no author, "/>
+            <breakline/>
+            <ITEXT FONT="Limousine Medium" FONTSIZE="18" FCOLOR="MagentaWeb" CH="no designer, no typesetter, "/>
+            <breakline/>
+            <ITEXT FONT="Limousine Medium" FONTSIZE="18" FCOLOR="MagentaWeb" CH="no distribution channel. "/>
+            <breakline/>
+            <ITEXT FONT="Limousine Medium" FONTSIZE="18" FCOLOR="MagentaWeb" CH="Nevertheless, you have it in front of you. "/>
+            <breakline/>
+            <ITEXT FONT="Limousine Medium" FONTSIZE="18" FCOLOR="MagentaWeb" CH="How did that happen?"/>
+            <para LINESPMode="1" LINESP="25"/>
+            <ITEXT FONT="Limousine Medium" FONTSIZE="14" FCOLOR="MagentaWeb" CH="POwr, Broccoli and Kopimi"/>
+            <ITEXT CH=" "/>
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+            <ITEXT FONT="Limousine Medium" FONTSIZE="10" FCOLOR="MagentaWeb" CH="Manifestos for the Internet Age is a reader that collects manifestos of computer culture, starting with Ted Nelson's Computer Lib, proceeding through the GNU Manifesto and the Hacker Manifesto, up to current positions such as The Cult of Done, the Cryptoparty Manifesto, the Critical Engineering Manifesto, and many other writings from both artists and activists."/>
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+            <ITEXT FONT="Limousine Medium" FONTSIZE="49" FCOLOR="MagentaWeb" CH="Manifestos "/>
+            <para LINESPMode="0" LINESP="53"/>
+            <ITEXT FONT="Limousine Medium" FONTSIZE="49" FCOLOR="MagentaWeb" CH="for"/>
+            <para LINESPMode="0" LINESP="53"/>
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+</SCRIBUSUTF8NEW>

notes/cover-calculator.html

@@ -0,0 +1,98 @@
+<!doctype html>
+<html class="no-js" lang="">
+    <head>
+        <meta charset="utf-8">
+        <title>Spine Calculator</title>
+        <meta name="description" content="">
+        <meta name="viewport" content="width=device-width, initial-scale=1">
+        <style>
+        html {
+			background: #999;
+        }
+        body {
+        	margin: 1em;
+        	border: 1px solid black;
+        	padding: 1em;
+        	background: #ddd;
+        	font-family: Avenir, "PT Sans", sans-serif;
+        }
+
+        h1 {
+            margin-top: 0;
+        }
+
+		input[type="number"] {
+			line-height: 2;
+			font-size: 100%;
+			padding-left: 0.5em;
+			width: 5em;
+		}
+
+		button {
+			font-size: 100%;
+			padding: 0.6em;
+			border: 1px solid green;
+			border-radius: 0.5em;
+			/* Rectangle: */
+			background-color: #A4EEBA;
+			box-shadow: 0px 0px 1em rgba(0,0,0,0.5) inset;
+			cursor: pointer;
+		}
+
+		button:hover {
+			background-color: #61CD81;
+		}
+
+		#result {
+			margin-top: 1em
+		}
+
+        </style>
+        <script type="text/javascript"></script>
+    </head>
+    <body>
+        <h1>CreateSpace Spine Calculator</h1>
+
+        <p>Enter the page count and obtain the spine width!</p>
+
+		<p>Page count: <input id="number" type="number" name=""></p>
+		<button>&rarr; Calculate</button>
+
+		<div id="result"></div>
+    </body>
+    <script type="text/javascript" src="jquery.js"></script>
+    <script>
+    	( function( $ ) {
+
+
+			$( "button" ).on( "click", function() {
+
+				var pages = $( "#number" ).val();
+
+                var spine = pages * 0.0025;
+
+                var output = "Spine width: "+spine+" inch<br>";
+
+                var cover = 8.5 + spine;
+
+                // Cover width
+
+                var output = output + "Cover width: "+cover+" inch<br>";
+
+                // With bleed
+
+                var output = output + "With bleed: "+(cover + 0.25)+" inch<br>";
+
+                // start of right page
+
+                var output = output + "Start of right page: "+(4.25 + spine)+" inch<br>";
+
+    			$( "#result" ).html( output );
+
+			});
+
+
+
+    	} )( jQuery );
+    </script>
+</html>

notes/cover-size.md

@@ -1,13 +1,13 @@
 # Cover format
 
-- Current number of pages: 187    
-Amazon cover specs: 
+Current number of pages: 187    
+Amazon cover specs:    
 https://www.createspace.com/Products/Book/CoverPDF.jsp
 
-Spine Width Calculation:    
+Spine Width Calculation:        
 Cream paper: multiply page count by 0.0025"
 
-Bleed settings:
+Bleed settings:    
 .125" bleed (on each side)
 
 - Minimum Cover Width: Bleed + Back Cover Trim Size + Spine Width + Front Cover Trim Size + Bleed
@@ -36,25 +36,30 @@ If you choose to provide and place your own barcode, be sure it is a high-resolu
 120 * 0.0025 = 0.3 inch    
 158 * 0.0025 = 0.395 inch
 
-## Full cover surface (including bleed): 
+## Full cover surface (including bleed):    
 height: 6.8750 (+ 0.25 bleed = 7.125")    
 width: 4.25 + 0.3 + 4.25 = 8.8 (+ 0.25 bleed = 8.25")
 
-158 pages:
-width: 4.25 + 0.395 + 4.25 = 8.895 (+ 0.25 bleed = 9.145")
+**158 pages:**    
+width: 4.25 + 0.395 + 4.25 = 8.895 (+ 0.25 bleed = 9.145")    
 start of right page: 4.25+0.395 = 4.645
 
-139 pages:
-Spine width: 139 * 0.0025 = 0.3475
-Cover width: 4.25 + 0.3475 + 4.25 = 8.8475 (+ 0.25 bleed = 9.0975")
+**139 pages:**    
+Spine width: 139 * 0.0025 = 0.3475    
+Cover width: 4.25 + 0.3475 + 4.25 = 8.8475 (+ 0.25 bleed = 9.0975")    
 Right page begins at: 4.25 + 0.3475 = 4.5975
 
-144 pages:
-Spine width: 144 * 0.0025 = 0.36 = move stuff by 0.125 to the right
-Cover width: 4.25 + 0.36 + 4.25 = 8.86 (+ 0.25 bleed = 9.11")
+**144 pages:**    
+Spine width: 144 * 0.0025 = 0.36 = move stuff by 0.125 to the right    
+Cover width: 4.25 + 0.36 + 4.25 = 8.86 (+ 0.25 bleed = 9.11")    
 Right page begins at: 4.25 + 0.36 = 4.61
 
-187 pages:
-Spine width: 187 * 0.0025 = 0.4675
-Cover width: 4.25 + 0.4675 + 4.25 = 8.9675 (+ 0.25 bleed = 9.2175")
+**187 pages:**    
+Spine width: 187 * 0.0025 = 0.4675    
+Cover width: 4.25 + 0.4675 + 4.25 = 8.9675 (+ 0.25 bleed = 9.2175")    
 Right page begins at: 4.25 + 0.4675 = 4.7175
+
+**275 pages:**    
+Spine width: 275 * 0.0025 = 0.6875    
+Cover width: 4.25 + 0.6875 + 4.25 = 9.1875 (+ 0.25 bleed = 9.4375)     
+Right page begins at: 4.25 + 0.6875 = 4.9375    

notes/specifications.md

@@ -6,28 +6,30 @@ Design: Manuel Schmalstieg
 
 ## Description:
 
-<i>Manifestos for the Internet Age</i> is a reader that collects manifestos of computer culture, starting with Ted Nelson (<i>Computer Lib</i>), through the <i>GNU Manifesto</i> and the <i>Hacker Manifesto</i> (1986), up to current influential positions such as the <i>Zero Dollar Laptop Manifesto</i> (James Wallbank), the <i>Lo-Fi Manifesto</i> (Karl Stolley), the <i>Critical Engineering Manifesto</i> (Oliver, Savicic, Vasiliev), and many other writings from both artists and activists. 
+<i>Manifestos for the Internet Age</i> is a reader that collects manifestos of computer culture, starting with Ted Nelson (<i>Computer Lib</i>), through the <i>GNU Manifesto</i> and the <i>Hacker Manifesto</i> (1986), up to current influential positions such as the <i>Critical Engineering Manifesto</i> (Oliver, Savicic, Vasiliev), the <i>3D Additivist Manifesto</i> (Morehshin Allahyari & Daniel Rourke), the <i>Xenofeminist Manifesto</i> (Laboria Cuboniks) and many other writings from both artists and activists. 
 
-The present edition (as of May 2015) includes writings by Aaron Swartz, Adam Hyde, the Swedish Piratpartiet, Constant Dullaart, Edward Snowden, Piotr Czerski, David Weinberger and Doc Searls.
+The present edition (as of February 2016) includes writings by VNS Matrix, Aaron Swartz, Asher Wolf, the Swedish Piratpartiet, Constant Dullaart, Aram Bartholl, Edward Snowden, Piotr Czerski, David Weinberger, Doc Searls, Evan Roth and Casey Gollan.
 
 ## Size: 
 
-4.25" x 6.88" (10.80 x 17.48 cm)
+4.25" x 6.875" (10.80 x 17.48 cm)
 Black & White on Cream paper
 140 pages
 
 ## BISAC Category:
 
-Political Science / Political Freedom
+Computers / Internet / General
 
 ## ISBN: 
 
 First version: 978-2-940561-00-1 (discarded)
 
-Current version: 978-2-940561-02-5    
+Version 0.1 to 0.7: 978-2-940561-02-5    
 ISBN-13: 9782940561025    
 ISBN-10: 2940561028
 
+Version 0.8 : 978-2-940561-04-9
+
 ## Pricing: 
 
 5.99 USD 

notes/to-manifesto-authors.txt

@@ -0,0 +1,30 @@
+Hello XXX,
+
+this messsage is to let you know that your text,
+...
+has been included in the collection "Manifestos for the Internet Age".
+
+This collection is a crowdsourced book, entirely created with free & open source software, and published on github:
+https://github.com/greyscalepress/manifestos
+
+The first version was created in March 2015, during a workshop on book prototyping given at the Fahrenheit 39 Art Book Fair, Ravenna, Italy.
+
+There have been several additions and iterations since, the current release (as of March 2016) is version 0.7.
+
+The layout is done with command-line tools Pandoc and Latex. You can find the PDF in the "output" folder:
+
+
+A printed edition is released via print-on-demand through Amazon:
+http://www.amazon.com/Manifestos-Internet-Age-Various/dp/2940561028/
+
+I hope you enjoy this project.
+
+I am welcoming further contributions (if you think of any other manifesto that I missed, let me know). If you would be interested in adding something like an introduction, or an interview, let me know.
+
+Best regards,
+
+Manuel Schmalstieg
+Greyscale Press
+Neuchâtel
+
+***

scripts/build.sh

@@ -7,13 +7,31 @@
 
 ## 1: We declare some variables
 
-INPUT="../content/meta.txt ../content/manifestos/*.*" ## ../content/intro.txt 
+INPUT="../content/meta.txt" ## ../content/intro.txt
+INPUT="$INPUT ../content/manifestos/*.*"
+
 TEMP="../temp/newfile.txt"
 TEMP2="../temp/newfile2.txt"
 
-TIMESTAMP=$(date +"%s")
-OUTPUT="../output/output-"$TIMESTAMP".pdf"
+##TIMESTAMP=$(date +"%s")
+TIMESTAMP=$(date -u +%Y%m%d_%H%M%SZ)
+OUTPUT="../output/Manifestos_for_the_Internet_Age-"$TIMESTAMP".pdf"
+OUTPUTEPUB="../output/Manifestos_for_the_Internet_Age-"$TIMESTAMP".epub"
 
+## Create the temp and output folder if they does not exist
+if [ ! -d "../temp" ]; then
+  mkdir ../temp
+fi
+if [ ! -d "../output" ]; then
+  mkdir ../output
+fi
+
+if [ ! -d ~/.fonts ]; then
+  mkdir ~/.fonts
+fi
+
+##cp ../fonts/*.otf ~/.fonts/
+##fc-cache -fv
 
 ## 2: AWK Method
 
@@ -38,7 +56,6 @@ END {
 }
 ' $INPUT > $TEMP
 
-
 ## awk '{print $0,"  x"}' $TEMP > $TEMP2
 ## mv $TEMP2 $TEMP
 
@@ -50,18 +67,37 @@ END {
 ## "Work Sans"
 ## "Archivo Narrow"
 ## "Sophia Nubian"
-## "Limousine"
-## Monoid
+## "Limousine" - by OSP Foundry
+## Monoid - by Andreas Larsen
+## HK Grotesk - by Alfredo Marco Pradil, Hanken Design Co.
 
-pandoc -f markdown -o $OUTPUT --template=../templates/customV2 $TEMP --latex-engine=xelatex \
-    --variable mainfont="Monoid" \
-    --variable sansfont=Futura \
-    --variable monofont=Inconsesi \
+pandoc -f markdown --template=../templates/customV2 $TEMP \
+	--pdf-engine=xelatex \
+    --variable mainfont="HKGrotesk-Regular" \
+    --variable boldfont="LinLibertineOB" \
+    --variable italicfont="LinLibertineOI" \
     --variable fontsize=9pt \
     --variable urlcolor=black \
     --variable linkcolor=black \
     --variable documentclass=book \
     --toc --toc-depth=1 \
-    --include-before-body=../content/intro.txt
+    --listings \
+    --include-before-body=../content/intro.txt \
+    -o $OUTPUT
+
+pandoc -f markdown --template=../templates/custom $TEMP \
+	--pdf-engine=xelatex \
+    --variable mainfont="HKGrotesk-Regular" \
+    --variable boldfont="LinLibertineOB" \
+    --variable italicfont="LinLibertineOI" \
+    --variable fontsize=9pt \
+    --variable urlcolor=black \
+    --variable linkcolor=black \
+    --variable documentclass=book \
+    --toc --toc-depth=1 \
+    --listings \
+    --include-before-body=../content/intro.txt \
+    --to=epub2 \
+    -o $OUTPUTEPUB
 
 ## End of file

templates/custom.epub2

@@ -0,0 +1,51 @@
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.1//EN" "http://www.w3.org/TR/xhtml11/DTD/xhtml11.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml"$if(lang)$ xml:lang="$lang$"$endif$>
+<head>
+  <meta http-equiv="Content-Type" content="text/html; charset=utf-8" />
+  <meta http-equiv="Content-Style-Type" content="text/css" />
+  <meta name="generator" content="pandoc" />
+  <title>$pagetitle$</title>
+$if(highlighting-css)$
+  <style type="text/css">
+$highlighting-css$
+ background: #ddd;
+ color: blue;
+   </style>
+$endif$
+$for(css)$
+  <link rel="stylesheet" type="text/css" href="$css$" />
+$endfor$
+</head>
+<body$if(coverpage)$ id="cover"$endif$>
+$if(titlepage)$
+$for(title)$
+$if(title.text)$
+  <h1 class="$title.type$">$title.text$</h1>
+$else$
+  <h1 class="title">$title$</h1>
+$endif$
+$endfor$
+$if(subtitle)$
+  <h1 class="subtitle">$subtitle$</h1>
+$endif$
+$for(author)$
+  <h2 class="author">$author$</h2>
+$endfor$
+$for(creator)$
+  <h2 class="$creator.type$">$creator.text$</h2>
+$endfor$
+$if(publisher)$
+  <p class="publisher">$publisher$</p>
+$endif$
+$if(date)$
+  <p class="date">$date$</p>
+$endif$
+$if(rights)$
+  <p class="rights">$rights$</p>
+$endif$
+$else$
+$body$
+$endif$
+</body>
+</html>

templates/customV2.latex

@@ -4,14 +4,18 @@
 
 % Start Manifesto Template Customization
 
+% Layout : https://www.sharelatex.com/learn/Page_size_and_margins
+
+% Amazon: books from 151 - 300 pages require at least .5"  for the gutter (inside margin) and at least .25" for the outside, top and bottom margins.
+
 \usepackage[
   paperheight=6.875in,
   paperwidth=4.25in, 
-  top = 1.8cm, 
-  bottom = 1.2cm, 
-  left = 2cm, 
-  right = 1.2cm, 
-  footskip = 0.8cm, 
+  top = 0.71in, 
+  bottom = 0.55in, 
+  left = 0.8in, % = inner margin
+  right = 0.47in, % = outer margin
+  footskip = 0.31in, 
   marginparwidth = 0cm, 
   marginparsep = 0cm]{geometry}
   
@@ -78,7 +82,17 @@ $endif$
   \defaultfontfeatures{Mapping=tex-text,Scale=MatchLowercase}
   \newcommand{\euro}{€}
 $if(mainfont)$
-    \setmainfont{$mainfont$}
+  \setmainfont[
+  $if(boldfont)$
+    BoldFont={$boldfont$}, 
+  $endif$
+  $if(italicfont)$
+    ItalicFont={$italicfont$},
+  $endif$
+  $if(bolditalicfont)$
+    BoldItalicFont={$bolditalicfont$}
+  $endif$
+ ]{$mainfont$}
 $endif$
 $if(sansfont)$
     \setsansfont{$sansfont$}
@@ -120,7 +134,6 @@ $endif$
 $if(lang)$
 \ifxetex
   \usepackage{polyglossia}
-  \setmainlanguage{$mainlang$}
   \setotherlanguages{$for(otherlang)$$otherlang$$sep$,$endfor$}
 \else
   \usepackage[shorthands=off,$lang$]{babel}