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  4. <title>NeMe</title>
  5. <link>http://www.neme.org/</link>
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  7.  
  8. <pubDate>Tue, 23 Jan 2018 05:43:48 GMT</pubDate>
  9.  
  10. <item><title>Creativity and other fundamentalisms</title>
  11. <description>
  12. <![CDATA[<p>The magic word these days is ‘creativity’. And not just for artists: managers and policy makers alike demand creativity. Even family therapists and mediators urge us to find more creative solutions. Nowadays, creativity is all about positive morality. We expect nothing but good from it. But what remains of the meaning of the word when just about everybody is using it to death? And where does this hunger for creativity come from? Isn’t it instead a sign of a creeping loss of true creativity?</p>]]>
  13. </description>
  14. <link>http://www.neme.org/texts/creativity-and-other-fundamentalisms</link>
  15. <pubDate>Sun, 31 Dec 2017 06:10:00 GMT</pubDate>
  16. <dc:creator>NeMe</dc:creator>
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  18. </item>
  19. <item><title>Monitorial Citizen: the ordinary witness</title>
  20. <description>
  21. <![CDATA[<p>James Bridle’s work explores the implications of technological acceleration and opacity for everyday life and the implications of algorithmic citizenship, deterritorialised nations and digital governments.</p>]]>
  22. </description>
  23. <link>http://www.neme.org/events/monitorial-citizen</link>
  24. <pubDate>Sun, 10 Dec 2017 08:57:17 GMT</pubDate>
  25. <dc:creator>NeMe</dc:creator>
  26. <guid isPermaLink="false">tag:www.neme.org,2018-01-03:986ae5549513f399cef071e5b0d32106/c49e4140c354663d947d3b8a0b3b5f52</guid>
  27. </item>
  28. <item><title>Open Community - Open Networks</title>
  29. <description>
  30. <![CDATA[<p><em>Open Community &#8211; Open Networks</em> was presented as part of the <a rel="external" href="http://respublika.neme.org">Respublika!</a> project curated by Nico Carpentier. The exhibition, features the work of <strong>Christoph Wachter and Mathias Jud</strong> who have been working together on participatory community projects since 2000. Their work centralises on critically examining the power of the existing networks and providing tools to resist it. These tools are seen as both a hack and a tool as they hack into the vulnerabilities of existing networks and provide toolsets for the creation of new ones. Starting from the idea that infrastructures create an economic and political divide, Wachter and Jud&#8217;s work, using low cost hardware (such as Raspberry Pis) and their own open source software, resists this divide by proposing new and independent networks which bypass the infrastructural violence which exists to militarily protect the national digital infrastructure and its use by the public (<a rel="external" href="https://voicerepublic.com/talks/infrastructural-violence">voicerepublic.com/talks/infrastructural-violence</a>). The Internet is seen by many as an open, limitless and bordeless space for communication. This perceived openness is confirmed and substantiated by means of participation on so called free platforms like Blogs, Facebook and YouTube. At the same time the internet hosts and <span class="caps">ISP</span>s intervene in all areas of this communicative space &#8211; by censorship, control, exclusion, and surveillance. The artists use the possibilities of the accessible, open net to make those mechanisms of control and exclusion visible. Wachter &amp; Jud, address these hidden and disguised forces by turning anonymous communications and mass surveillance into art, as Mathias Jud said: “We should start making our own connections, fighting for this idea of an equal and globally interconnected world… This is essential to overcome our speechlessness and the separation provoked by rival political forces.”</p>
  31.  
  32. <p>The exhibition at the NeMe Arts Centre consisted of video documentation of previous works and equipment which demonstrated the power of their alternative networks. The work presented was strongly political as it featured aspects of the digital networks that affect us all personally: our privacy, freedoms, but also our imagination and our ability to understand our networks as an integral part of our society&#8217;s environment. By counteracting the medial and cultural hegemonies and political rules governing our communication structures and &#8211; by revealing the control mechanisms &#8211; open up new alternatives in the supranational fabric of the Internet. The tools exhibited are used by  communities in the <span class="caps">USA</span>, Europe, Australia and activists in countries like Syria, Tunisia, Egypt, Iran, China, and North Korea.</p>
  33.  
  34. <div  class="grid_9"><div class="embed-container"><iframe src="https://player.vimeo.com/video/243806698?title=0&amp;byline=0&amp;portrait=0" allowfullscreen></iframe></div></div><div class="grid_9"><div class="embed-container"><iframe src="https://player.vimeo.com/video/249152559?title=0&amp;byline=0&amp;portrait=0" allowfullscreen></iframe></div></div>
  35.  
  36. <h3>Artists statements about the specific works exhibited</h3>
  37.  
  38. <h4>qaul.net</h4>
  39.  
  40. <p>In 2011, we launched qaul.net to explore our expression and communication options in the digital era. qaul.net is an independent open communications network and allows chat, voice calls, file sharing without Internet and mobile phones, directly in a spontaneous network of devices.</p>
  41.  
  42. <p>qaul.net implements a redundant, open communication principle, in which wireless-enabled computers and mobile devices can directly form a spontaneous network. Chat, twitter functions and movie streaming is possible independent of internet and cellular networks. <a rel="external" href="http://qaul.net">qaul.net</a> can spread like a virus, and an Open Source Community can modify it freely.</p>
  43.  
  44. <p>In a time of communication blackouts in places like Egypt, Burma, and Tibet, and given the large power outages often caused by natural disasters, qaul.net has taken on the challenge of critically examining existing communication pathways while simultaneously exploring new horizons.</p>
  45.  
  46. <h4>Silent Protest</h4>
  47.  
  48. <p>In September 2014, we received an email from a Chinese activist who wanted to organise an event in the public space in Beijing to which apply regulations and policing control. To circumvent the limitations, his event should take place on another layer to which participants in a wider range could join via their smartphones.</p>
  49.  
  50. <p>qaul.net was extended by a streaming server that allows a mutual sharing of audio messages in an open and independent network. With smartphones, sound be transmitted or received via WiFi connection.</p>
  51.  
  52. <h4>“Can you hear me?”</h4>
  53.  
  54. <p>About heard, listened to and isolated voices in the digital communication society.</p>
  55.  
  56. <p>Between the US Embassy and the British Embassy, Christoph Wachter and Mathias Jud have designed the art project <a rel="external" href="http://can-you-hear-me.de">“Can you hear me?”</a>. Due to the revelations of Edward Snowden, this very place became a political focal point. From there, the British and the Americans were spying on the government and the people in Berlin.</p>
  57.  
  58. <p>Public protests went on without consequences. Instead, oppression became rather widespread. Ironically, the digital media means of expression that were considered, at the beginning of the Egyptian, Tunisian, or Turkish rebellions as promising tools were perverted into their opposite. The digital space which should allow democratic debate is fundamentally manipulated. Because of that, cultural, political, and communicative structures are also shaken and it leads to an experience not unlike the one experienced by people under authoritarian and restrictive regimes, where a gruelling dependence and speechlessness arises.</p>
  59.  
  60. <p>Monitored frequencies in Berlin are used to establish an open mesh network. Messages could be sent to the intelligence agencies on the frequencies that are intercepted by the <span class="caps">NSA</span> and <span class="caps">GCHQ</span>. Everybody &#8211; even the government officials and the officials of the intelligence agencies from the embassies at Pariser Platz – were invited to join the discussion. We have been excited to see what the world has to tell them.</p>
  61.  
  62. <h4>Antenna Tower</h4>
  63.  
  64. <p>Wi-Fi routers today build a very dense network. In most cities, it is common to find more than a dozen strong signals.</p>
  65.  
  66. <p>Connections between portable devices manage to bridge up to 250 metres. This distance can be augmented with sticks, routers and directional antennas such as the simple but effective can antennas.</p>
  67.  
  68. <p>A wooden tower with <span class="caps">WLAN</span> can antennas. From here, an open, independent wireless communication mesh network deploys. Customary routers are equipped with a customized open operating system and with improvised crafted<br />
  69. directional can antennas.</p>
  70.  
  71. <p>With these antennas and such towers, large distances can be bridged and the network can expand to large areas.</p>
  72.  
  73. <h4>#GLM</h4>
  74.  
  75. <p>#GLM [Grassroots Local Meshnet] <br />
  76. Video 26:00 Min. France 2013</p>
  77.  
  78. <p>Otherwise cut off from the Internet, a neighbourhood network connects an informal settlement in South Paris to the Internet with the help of can antennas and computers, March 2013.</p>
  79.  
  80. <p>Roma families build a gigantic antenna in an informal settlement in order to participate in the <span class="caps">WLAN</span> communications network #GLM [Grassroots Local Meshnet], Paris, 2013.</p>
  81.  
  82. <p>The bicycle is equipped with a mini- computer and numerous can antennas. Commands can be sent via a <span class="caps">WLAN</span> connection, for example, sending or checking e-mails or downloading music. If the bicycle is near an Internet hotspot, it dials in automatically and the commands are executed. The bicycle connects people in informal settlements with the Internet; Paris, 2013.</p>
  83.  
  84. <h4>Gezi Park Edition</h4>
  85.  
  86. <p>In 2014, we were invited to Istanbul as well as to the Asian part of the town, south of the Bosporus to give a series of workshops. People started building independent networks and connections on the basis of qaul.net.</p>
  87.  
  88. <p>Together with activists, we developed an extended version of qaul.net, based on their experiences from the Gezi Park protests.<br />
  89. We developed independent and mobile stations that can run even during power outages or network failures to allow local communication.These stations can be used for text messages, voice chats and file sharing. The Gezi Park Edition allows links to the Internet and other networks. Information can be exchanged over those interfaces even time-delayed. The local network also works as a kind of anonymization for the access to the Internet, as the devices cannot be identified by their IP addresses. Only random IP addresses are used within the network, and they are not registered. As a consequence the messages in the cloud cannot be prosecuted by authorities</p>
  90.  
  91. <p>This network is accessible for everyone, as a freely available and configurable open source software. Such networks can appear anywhere in manyfold variants and amounts. There is no central logging so to protect users.</p>
  92.  
  93. <p>The independent network remains available even after shut downs of web platforms, mobile services or Internet connections.</p>
  94.  
  95.  
  96. <h3>Credits</h3>
  97.  
  98. <p>Curator: Nico Carpentier<br />
  99. Project coordination: Helene Black and Yiannis Colakides<br />
  100. Exhibition photography: Evdokia Georgiou<br />
  101. Thanks: Chrystalleni Loizidou, Hack66, Limassol Hacker Space, Lefkosia Hacker Space</p>
  102.  
  103. <h3>Funding</h3>
  104.  
  105. <p>Cyprus Ministry of Education and Culture</p>
  106.  
  107. <h3>Support</h3>
  108.  
  109. <p>Medochemie, Sheila Pinkel, Vrije Universiteit Brussel, Uppsala University, <span class="caps">CCMC</span>, and H4C</p>]]>
  110. </description>
  111. <link>http://www.neme.org/events/open-community-open-networks</link>
  112. <pubDate>Mon, 04 Dec 2017 09:29:20 GMT</pubDate>
  113. <dc:creator>NeMe</dc:creator>
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  115. </item>
  116. <item><title>Unbuilding Citizenship</title>
  117. <description>
  118. <![CDATA[<p>James Bridle’s work explores the implications of technological acceleration and opacity for everyday life and the implications of algorithmic citizenship, deterritorialised nations and digital governments.</p>]]>
  119. </description>
  120. <link>http://www.neme.org/events/unbuilding-citizenship</link>
  121. <pubDate>Mon, 04 Dec 2017 08:57:17 GMT</pubDate>
  122. <dc:creator>NeMe</dc:creator>
  123. <guid isPermaLink="false">tag:www.neme.org,2017-12-31:986ae5549513f399cef071e5b0d32106/02f7b0b4b25288d9308ee9539d159187</guid>
  124. </item>
  125. <item><title>Terra - Terror - Territory</title>
  126. <description>
  127. <![CDATA[<p>When, on 7 December 1972, Blue Marble-the first clear photograph of the whole earth-was shown, we immediately understood its message: this is the territory. Although it had long since been proven that the Earth was round and finite, it took an image to really let especially that finiteness sink in with our collective consciousness. From then on the Earth was indeed understood as a territory: a well-defined and limited terrain and the only one to inhabit and to farm, at least for now. It is no coincidence that ecological movements rapidly gathered momentum in the early 1970s.</p>]]>
  128. </description>
  129. <link>http://www.neme.org/texts/terra-terror-territory</link>
  130. <pubDate>Sun, 26 Nov 2017 09:14:26 GMT</pubDate>
  131. <dc:creator>NeMe</dc:creator>
  132. <guid isPermaLink="false">tag:www.neme.org,2017-11-26:986ae5549513f399cef071e5b0d32106/5954b5f738951ccd8dfbe4d248a81818</guid>
  133. </item>
  134. <item><title>Phenomenological Lightworks</title>
  135. <description>
  136. <![CDATA[<p>Over the past two decades photographers have witnessed major changes in imaging technologies. Digital cameras, computers &amp; cell phones have allowed all people using these technologies to become ‘photographers.’ In addition, new imaging techniques now used in the sciences and social sciences have allowed both artists and scientists to make visible phenomena never seen before. </p>]]>
  137. </description>
  138. <link>http://www.neme.org/events/phenomenological-lightworks</link>
  139. <pubDate>Thu, 26 Oct 2017 08:28:29 GMT</pubDate>
  140. <dc:creator>NeMe</dc:creator>
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  142. </item>
  143. <item><title>Improper Names</title>
  144. <description>
  145. <![CDATA[<p>A name. Everybody has one. In the documentary, individuals, artists and academics from all over the world share their thoughts about the meaning and purpose of one&#8217;s name from both private and public perspectives. The problem of homonymy and other reasons for changing one&#8217;s name are explored as the film draws references from history, popular culture and individual experiences, leading us to the case of a name change that caused a stir in the small country of Slovenia and beyond.</p>]]>
  146. </description>
  147. <link>http://www.neme.org/events/improper-names</link>
  148. <pubDate>Mon, 23 Oct 2017 13:01:41 GMT</pubDate>
  149. <dc:creator>NeMe</dc:creator>
  150. <guid isPermaLink="false">tag:www.neme.org,2017-10-09:986ae5549513f399cef071e5b0d32106/9037b8ea536a0f336d2a8d1a30848d53</guid>
  151. </item>
  152. <item><title>Ambiguous bodies: timeless interpretations</title>
  153. <description>
  154. <![CDATA[<p>Using texts by Diane Bolger (Beyond Male/Female: Recent Approaches to Gender in Cypriot Prehistory) as a starting point, NeMe invited curator,  Areti Leopoulou, has proposed an exhibition and seminar which responds to the historical preconceptions of Cypriot Figurines from the Chalcolithic and Bronze Age.  Leopoulou has made a selection of works by Cypriot and Greek artists which have inherent, although in many cases, oblique references to ancient gendered figurines whilst remaining clearly within a contemporary critical and interdisciplinary platform. </p>]]>
  155. </description>
  156. <link>http://www.neme.org/events/ambiguous-bodies</link>
  157. <pubDate>Wed, 31 May 2017 04:47:04 GMT</pubDate>
  158. <dc:creator>NeMe</dc:creator>
  159. <guid isPermaLink="false">tag:www.neme.org,2017-05-31:986ae5549513f399cef071e5b0d32106/6a85a0d4d0ddb95561be44e96aa5e0ea</guid>
  160. </item>
  161. <item><title>(b)orders</title>
  162. <description>
  163. <![CDATA[<p><strong>&#40;b&#41;orders</strong> was a one evening event which explored the relationship between the present shifting political geography instigated by countries constructing border fences and the migrants and refugees who now mainly live their lives suspended in demarcated zones in a precarious state of survival or even violently displaced within their own country.</p>]]>
  164. </description>
  165. <link>http://www.neme.org/events/borders</link>
  166. <pubDate>Tue, 28 Mar 2017 08:26:00 GMT</pubDate>
  167. <dc:creator>NeMe</dc:creator>
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  169. </item>
  170. <item><title>Sublime/Internal/Subliminal</title>
  171. <description>
  172. <![CDATA[<p>Over the last ten years, Australian video artists have developed a refreshed attention to the sublime and the subliminal in their creative practice. While media and communication technology has offered a change in the way artists create, archive, show and access their work &#8211; from affordable, higher quality cameras, and easily accessible file storage to the instantaneous distribution from social and digital media platforms &#8211; the tools of image making may have advanced, yet the poetic and conceptual enquiry behind such image production has remained constant. ​*Sublime/Internal/Subliminal* brings together a cross selection of emerging and established artists who reflect this constant.</p>]]>
  173. </description>
  174. <link>http://www.neme.org/events/sublime-internal-subliminal</link>
  175. <pubDate>Sat, 18 Mar 2017 20:04:15 GMT</pubDate>
  176. <dc:creator>NeMe</dc:creator>
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