Clemens Apprich
Theorist, writer, and Research Fellow at the Moving Image Lab as well as coordinator and curator at the Post-Media Lab at Leuphana University in Lüneburg.
ReadTheorist, writer, and Research Fellow at the Moving Image Lab as well as coordinator and curator at the Post-Media Lab at Leuphana University in Lüneburg.
ReadMenno Grootveld ran a pirate tv-station (Rabotnik TV) in the early eighties, which later became one of the first legal local broadcasters in Amsterdam.
ReadTactical media are the field being worked by artists adopting a positive attitude towards contemporary digital technology, in a critical, innovative spirit. Media artists reveal a preoccupation with aesthetics as a concept, not with a particular style. This trend is part of the creation of a new language for the communications network era, a user language which is successful as art because it transmits an effective activism. Media activists are a hybrid of artist, scientist, theoretician and political activist that shuns labels and categorizations. Their creations are characterised by integration of user and machine in the work itself, so that interactivity has an important place within it. The concept of tactical media allows Art with a capital and grassroots political activism to be combined and, in this sense, we could include in it the tactical struggle that is part of anti-globalisation movements. Media activists point to the power of tactics as a means of breaking down the barriers between mainstream values and alternative ones, between professionals and amateurs and even between people who are creative and those that are not.
ReadInternational support campaign for independent media in Yugoslavia, including the famous Radio B92 media center, in operation between March and July 1999.
ReadCampaigns and Movements Although a global conference, the first Next 5 Minutes, held six years ago(1993), was dominated by the first large scale encounter between two distinctive cultural communities. On the one hand, Western European and North American campaigning media artists and activists and on the other hand their equivalent from the former communist countries of Central and Eastern Europe, dissident artists and samizdat activists, still basking in the after glow of the role they played in bringing down the communist dictatorships. In the excitement of discovering each other, these two communities tended to gloss over their ideological differences,understandably emphasising only the shared practice of exploiting consumer electronics (in those days mostly the video camcorder) as a means of organisation and social mobilisation. We referred to these practices, and the distinctive aesthetic to which it gave rise, tactical media.
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