Friday, September 24, 2021

New Media, Internet, and Control of War Propaganda

The BBC reported on October 31st that the US defense department, dissatisfied with its lack of control of new media and its use in disseminating news and propaganda regarding the Iraq war, has set up a new unit to better promote and monitor messages across 24-hour rolling news outlets, particularly on the internet.

With the advent of U Tube and the potential for the layperson to become a video or film journalist, it was only a matter of time before the Pentagon realized what Paul Virilio foresaw: that there isn’t a damn thing that isn’t eventually used for war. Al Queda realized this, and many other wise uses to the internet and possible technological feats, quite a long time ago.

Problems arising are: who (corporations vs. individuals) will control U Tube technology and its uses, and how this will divide along ideological and party lines on a national (U.S) and global scale.


Home Is Where the Internet Connection Is: Law, Spam, and the Protection of Personal Space, by Andrea Slane

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Avant-Garde, Kitsch and Law, by Anthony Chase

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Imminent Lawless Action: Buck-Morss v. Enwezor

This essay argues that the seemingly disparate concepts of art and law are connected by the question of dissent and its its own juridico/linguistic limitation. It is my contention that at this stage of our global order, the only space left for an artistic practice is that of questioning institutional frameworks through and against the language of law.

If in fact the United States is our current version of Empire, then it is precisely through a cultural production informed by but not limited to Western artistic notions of the avant-garde that the questioning of U.S. laws, the U.S. Constitution and their global materialization will be elucidated.

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Interview with Law Professor Eduardo M. Peñalver, on Art, Law and Property

This interview took place over email exchanges between December 20, 2005 and January 3, 2006. In this interview, Law Professor Eduardo M. Peñalver talks in part about property law, the legal differences between real and intellectual property, and the relationship of these discourses to art and cultural production.

In trying to ascertain the relationship between law and cultural production, I decided to approach scholars and practitioners who had practical, theoretical, and philosophical experience with the impact of law on art. Although there are many art theorists, art historians, and art practitioners who have a wealth of experience in their respective fields, I have chosen to approach this investigation from the viewpoint of a field traditionally excluded from studies of visual culture, art, and art history. I can only hope that this experiment proves me right. — Sergio Muñoz-Sarmiento

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Postcards & Billboard Project: Chinatown, NYC

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