Tactical Media

Tactical Media

RITA RALEY
Volume: 28
Copyright Date: 2009
Edition: NED - New edition
Pages: 208
https://www.jstor.org/stable/10.5749/j.ctttsbc0
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  • Book Info
    Tactical Media
    Book Description:

    Tactical media describes interventionist media art practices that engage and critique the dominant political and economic order. Rather than taking to the streets, the practitioners of tactical media engage in an aesthetic politics of disruption, intervention, and education. In Tactical Media, Rita Raley provides a critical exploration of the new media art activism that has emerged out of, and in direct response to, postindustrialism and neoliberal globalization.

    eISBN: 978-0-8166-6798-7
    Subjects: Art & Art History

Table of Contents

  1. Front Matter
    (pp. i-viii)
  2. Table of Contents
    (pp. ix-x)
  3. Acknowledgments
    (pp. xi-xii)
  4. Introduction Tactical Media as Virtuosic Performance
    (pp. 1-30)

    There is much in the world to protest. The pressing question, particularly for a generation schooled in intellectual history by those who believed in revolution and had in fact stormed the barricades, is this: how does one express dissent and conceive of revolutionary transformation while distancing oneself from one’s forebears, whose lingering nostalgia for their own storming of the barricades, not to mention their idealistic belief in the possibility of visible and permanent social change, seems quaint, if even a trifle embarrassing? Of course, the Battle of Seattle caught the world by surprise. Antiglobalization, WTO, and G8 protests have been...

  5. 1. Border Hacks: Electronic Civil Disobedience and the Politics of Immigration
    (pp. 31-64)

    Leading up to Labor Day 2005, the Department of Ecological Authoring Tactics, Inc., launched a border disturbance action with the yellow Caution signs mounted along the San Diego area highways.¹ Introduced in the early 1990s, the signs were intended to warn drivers about the possibility of immigrants trying to cross the busy highways before border checkpoints. DoEAT’s intervention was to defamiliarize the iconic silhouettes of three running figures, surprising drivers with the new titles: “Wanted,” “Free Market,” “No Benefits,” and “Now Hiring.” Reducing the plurality of migrants to the singular family made more sympathetic by the inclusion of a young...

  6. 2. Virtual War: Information Visualization and Persuasive Gaming
    (pp. 65-108)

    Anthony Lappé and Dan Goldman’s near-future graphic novelShooting War(online version May–September 2006) begins with a certain self-consciousness about narrative self-presentation in the age of Web 2.0. “My name is Jimmy Burns,” announces the anticorporate videoblogger and Global News reporter. Having inadvertently streamed a suicide bomb attack on a Starbucks in the trendy Williamsburg neighborhood of Brooklyn, Jimmy Burns has become an overnight media sensation and has been sent to Iraq to capture, “live in hi-def,” the real horror of the war that has “gone to hell in a humvee,” looking “more and more like Saigon ’75 every...

  7. 3. Speculative Capital: Black Shoals and the Visualizing of Finance
    (pp. 109-152)

    Exhibit A for this chapter is Laura Kurgan’sGlobal Clock No. 1(2000), which provides a temporal interface for currency exchange rates of the dollar, euro, and yen at the turn of the millennium.¹ Using a Reuters data feed, the clock visualizes the shifts in exchange value during the densest five-minute periods of trading activity from the last business day of 1999 and the first of 2000. As it is with the market itself, the value of each currency is established not by reference to some entity outside the system but only through its fluctuating relation to the others. In...

  8. Notes
    (pp. 153-186)
  9. Index
    (pp. 187-196)
  10. Back Matter
    (pp. 197-197)