[rohrpost] An Assault on Neurospace (Misguided Directions for)
Matteo Pasquinelli
matteopasquinelli at gmx.it
Die Jul 12 20:55:17 CEST 2005
Paper presented in a draft version at Utopia Reversed in Weimar, May
2005.
An attempt to map new forms of activism in a post-internet framework.
Half theoretical, half gonzo. Reader-friendly pdf recommended:
http://www.rekombinant.org/download.php?op=getit&lid=6
---
Matteo Pasquinelli
An Assault on Neurospace (Misguided Directions for)
We are implicit, here, all of us,
in a vast physical construct of
artificially linked nervous systems.
Invisible. We cannot touch it.
-- William Gibson, In the visegrips of Dr. Satan
1. A libidinal geology of media spaces
What is the field that media art and media activism are meant to
occupy today? What is the place of the creative act? From the modern
utopias to movie and television imagery into the cyberspace of
digital technologies, different kinds of media spaces populate
contemporary history and produce each their own characters,
conflicts, aesthetics and narrations. Quoting Michel Serres1 we can
say today: "we inhabit a multiplicity of media spaces". The present
paper sketches out a short history of material and immaterial,
political and psychic media spaces, wondering with Jameson: "why
should landscape be any less dramatic than the Event?"2. According to
Henry Lefebvre (author of the seminal The production of the space3)
space is never a neutral background, but always the product of a
social conflict. In that sense we want to study its invisible
architecture, how our desires are invested in it, how new spaces are
opened by new technologies, languages and practices. We would like to
apply to media spaces what Lefebvre wrote in 1974, not without being
accused of fetishism: "Today more than ever, the class struggle is
inscribed in space". Today's place of political and artistic action
is but a stratification of previous spaces, and we need a sort of a
geology of the invisible to write its history.
We are aware that the first social impact of a given technology
is to modify the "sense of place" and generate its own collective
dimension (see Joshua Meyrowitz's research4). Recent history has been
dominated by continuous revolutions and colonizations of the human
biosphere by new species of devices and therefore our attention will
focus on technological media spaces and how the creative act inhabits
them. Witnessing the exodus of radical and innovative energies that
had populated cyberspace during the last decade, we wonder whether
they are gathering somewhere else. The space issue can never be
separated from the field of forces and conflicts generating it: we do
not want to use an Euclidean-Cartesian (or better, crypto-scientific)
approach as certain media culture does, adopting unconsciously some
kind of techno-determinism. Space is always traversed by a vital
force, by a desire.
According to PoMo philosophers the West is living its libidinal
sunset: a continuous haemorrhage emptying bodies and cities and
leaving but relics and anaemic simulacra behind it (think about the
"End of Grand Narratives", but also the crisis of democratic
institutions or the death of the artwork as we used to know it). And
after the crash of the new economy, crisis of net culture, impasse of
the no-war movement, whoever scouts around for new subverting
strategies against the post-9/11 new world (dis)order is told by
philosophers like Zizek that there is no escape out of the Code. We
are all part of homo sucker5: he/she who believes to be the one
manipulating indeed is the one being manipulated, he/she who believes
to laugh at the dominant Ideology indeed is strengthening its egemony
on himself/herself. And so on, from one dialectical impasse to
another, exactly like situationists saw no escape from the paranoia
of Spectacle or postmodernists from the End of History. In PoMo
dialectical toys, on one hand the libidinal energy seems to dissolve
itself into the phantasmagoria of consumerism, on the other hand it
is condemned to spin around itself in the vicious circles of
radicalism. The existential and political crisis of the West, then,
is not due to a haemorrhage of vital energies only, but even to their
confinement into self-referential circuits and spaces. Therefore we
wonder if the debate itself on the western art and politics crisis is
a prisoner of categories already evacuated by the energies of
history. We want to investigate the spaces where new energies are
expressing their existential angst, suspecting that there are new
spaces being populated out of the radar of academic philosophy,
institutional politics and art criticism.
2. The becoming-net of space
Utopias and religious sagas have often been based on the evocation of
spaces radically other. Religion, as an intimate semiotic device,
works on the projection of an after-life or a Promise Land (and the
idea itself of a Soul points to a non-directly reachable interior
space). Modern political utopias, indeed, have often been linked by
direct genealogy to the ultra-mundane spaces of religion. On the more
pragmatic level of history, capitalism was born privatizing
collective space into enclosures, while Marxism claimed the end of
private property to establish a new space, the Common, that does not
represent a way back to the nature-state but opens a new dimension.
The United States, far from European idealism, based their political
engine onto the myth of the Far West.
In modern times the mythical spaces of power and religion have
been followed by the psychic spaces of discipline and biopower. As
Foucault6 pointed out, biopolitics was born from a new knowledge of
the body, that described new physical and anatomical spaces and let
new technologies of power apply to them. Modern sexuality, for
instance, has been linked to the interior space conceived by the
Christian confession as a space of instincts and sins. Afterwards, at
the beginning of the 20th century psychoanalysis introduces a new
topology of the mind, articulated into the spaces of Id, Ego and
Super-Ego.
The mass media revolution enabled people to translate religious
and popular mithologies into a factual imagery made out of a serial
and ubiquitous repetition of images. It is the genesis of
contemporary collective imagery. Movie stars from the 50s start to
get hybridized with consumer goods and they are codified by Debord
into the concept of the Spectacle, a concept with hegelian and
totalitarian tinges. At first, the term mediascape meant the impact
of big billboards on landscapes and skylines. Afterwards, it has been
used for the whole of the media landscape, from press to radio and
television, where information and entertainment could merge in the
emotional hybrid called infotainment.
The internet revolution, the most important cultural event
behind us, was predicted in the 1984 novel Neuromancer, where Gibson
introduced the image of cyberspace. The virtual space of the net has
been the most powerful mediatic, emotional, political space of the
90s, before being colonised by business. Over the last years,
technological innovation has stepped from virtual reality to
augmented reality, from the simulation of fictitious spaces to a
concrete reality more and more filled with digital devices. More
recently, we have faced the arrival of locative media7, "location-
aware devices" that produce a particular kind of space as they know
their position and that of other surrounding smart objects. We have
heard as well about an Internet of Things, in relation to domotics,
or radio chips (RFID) being applied to goods and objects. A mixed
reality traverses all these fields. Quoting Wikipedia:
Mixed Reality was defined by Paul Milgram as the "merging of real and
virtual worlds somewhere along the 'virtuality continuum' which
connects completely real environments to completely virtual ones." It
is a sliding scale of complete virtuality on one end (Virtual
Environments) to complete reality on the other (the real world).
Along this Mixed Reality Continuum, fields such as Augmented Reality,
Augmented Virtuality, Ubiquitous Computing and Wearable Computing,
can be placed.8
Contemporary philosophical thought as well developed new models of
space to cover the information society: from Teilard de Chardin and
Pierre Levy's noosphere to cognitive capitalism9 by Italian and
French post-workerist thinkers (postoperaismo), knowledge and
collective intelligence shape a second biosphere surrounding the
whole human being. Spaces of ideas and information are often
described as interwoven with to the space of signs and brand
hypertrophy. It is not a coincidence that, in the same years the term
cyberspace was conceived, John Sherry10 introduced the concept of
brandscape as a cultural space where semiologists and advertisers can
finally meet up (and do business).
At the end of this brief overview we want to introduce two
generic concepts. We define networked space the hybridisation of the
mass media space with the space produced by network technologies. In
the same way, we call networked imagery the hybridisation of mass
imagery with internet imagery, a phenomen that is part of our daily
experience (from Abu Ghraib pictures scandal to Paris Hilton's hard
videos, both jumping the gulf between the net and mainstream media).
The networked environment born out by internet colonization of
offline spaces transcends the concept of mixed reality to engage not
only devices but also images, signs, sounds, brands, goods,
prostheses, bodies. We can then introduce our concept of neurospace.
3. Neurospace as an immanent plane of desire
Close to the notorious pair cyberspace and mediascape, there is
another family of concepts trying to arrange a spatial paradigm with
respect to the dimension of desire and psyche, also called by Bateson
"ecology of mind"11. As we have shown above, the issue of space
cannot be separated from the field of desires and conflicts producing
it: on the contrary, many technology-based approaches still consider
space as a neutral background, an implicit and unconscious a priori.
Within the history of emotional spaces we cannot forget concepts such
as situation, drift, psychogeography and Unified Urbanism conceived
by the Situationists in the 50's. But the spatial evolution we are
following, indeed, has extended beyond the urban and architectural
fields to establish the immaterial spaces of mindscape and
psychosphere. Guattari claimed that "an ecology of the virtual is
just as pressing as ecologies of the visible world"12. It is thanks
to such an awareness that today we talk of an "ecology of media", the
Adbusters magazine claims to be a "journal of the mental
environment", and new strategies of media activism and cultural
jamming13 have been developed.
Starting from the 50's such terms as mediscape and mindscape
have been overlapping and showing the unconscious and instinctive
background of our relationship with mass media and collective
imagery. Ballard's The atrocity exhibition is the ideal description
of the symbiosis between mindscape, landscape, mediascape.
Dr Nathan limped across the drainage culvert, peering at the huge
figure of a dark-haired woman painted on the sloping walls of the
blockhouse. The magnification was enormous. The wall on his right,
the size of a tennis court, contained little more than the right eye
and cheekbone. He recognized the woman form the billboards he had
seen near the hospital - the screen actress, Elizabeth Taylor. Yet
these designs were more than enormous replicas. They were equations
that embodied the relationship between the film actress and the
audience who were the distant reflections of her. The planes of their
lives intersected at oblique angles, fragments of personal myths
fusing with the commercial cosmologies. The presiding deity of their
lives the film actress provided a set of operating formulae for their
passage through consciousness.14
Ballard's vision is not that hallucinatory after all: just think of
the gigantic advertising hoardings that cover some of our city
buildings with superhuman-size celebrity endorsements.
Even the original definition of cyberspace itself was deeply
connected to a neuro dimension. First, according to Gibson cyberspace
is not a virtual reality but a space of metadata: "A graphical
representation of data abstracted from the banks of every computer in
the human system"15. Around that information space or metaspace a
"consensual hallucination" rises up, i.e. something at the same time
more abstract and more physical than a computer-simulated reality.
Cyberspace is inserted into bodies and nervous systems of Gibson's
characters: it is already a neurospace (in his novels altered states
of mind caused by synthetic drugs cannot be distinguished from the
experience of cyberspace). In his 2002 Vancouver talk In the
visegrips with Dr. Satan, Gibson finds again the best words to shape
a post-cyberspace age. Cyberspace is quite physical indeed:
The electrons streaming into a child's eye from the screen of the
wooden television are as physical as anything else. As physical as
the neurons subsequently moving along that child's optic nerves. As
physical as the structures and chemicals those neurons will encounter
in the human brain. We are implicit, here, all of us, in a vast
physical construct of artificially linked nervous systems. Invisible.
We cannot touch it.16
In last Gibson's books, cyberspace carries on its evolution crossing
the boundaries of technological biosphere and engaging the star
system in Idoru17 (rock star Rez is meant to marry Rei Toei, the most
popular musician in Japan, that doesn't exist, as she is an idoru,
"an artificial celebrity creation of information software agents"
designed to perform music in concerts) and the brandscape in Pattern
Recognition18 (Cayce Pollard is a coolhunter with an intuitive gift
for telling whether any logo will be a commercial flop, the downside
of her sensitivity is an allergic reaction to logo overexposure).
Contemporary criticism is persuaded that media spaces are based
on the mirror model representation: Debord's Spectacle or Gibson's
cyberspace would be but an iconic simulation of reality. On the
contrary, we believe that the representative paradigm should be
abandoned to consider media spaces as a direct extension of body (as
McLuhan19 already did). By the term neurospace we want to mean the
evolution and integration of previous media into a networked space
where collective and invidual nervous systems are deeply linked each
other through a high-density connective tissue made of devices,
signs, images, objects, data, prostheses. The prefix neuro is for the
connection of technological networks with the nervous system network,
whose terminals can be devices, brands, goods, images, material or
immaterial objects (as in the schizophrenic body Deleuze and Guattari
depict in Anti-Oedipus20). The neurospace is the contemporary short-
circuit between collective and individual mind: it is also the field
of paranoid and identitarian investments, where individual desires
gather and turn into power.
The neurospace shows up clearly when old media mass imagery
merges new media networked imagery to shape a connective imagery.
From Abu Ghraib pictures spread out on the net to amateur porn
videos Paris Hilton uses to shape her stardom, we are entering a sort
of interactive collective imagery. The net is extending its rhizomic
roots and make a network of everything it meets: images, devices,
goods, brands and so on. We refer to neurospace as an extension of
traditional network into an augmented space: from internet to
locative media to augmented reality, not only devices but also
simulacra and brands become "partical objects"21 of a networked
envinroment. In this way, the neurospace stratifies the history of
space seen above: cyberspace, augmented reality, locative media,
infosphere and Spectacle (i.e. infoteinment), noosphere and
brandscape, mass and net imagery, and of course mediascape,
mindscape, landscape. The neurospace is more a schizo-analitical than
a technological space, embracing the semiotic dimension
(information), the cognitive dimension (collective knowledge and
intelligence), the prosthetic dimension (technology), the iconic
dimension (media and spectacle), the biopolitical dimension (bodies
and libidinal investments).
Neurospace is not a neologism, it is a common metaphor across
neurosciences. Used for the first time by the artist Vladimir
Muzhesky, Geert Lovink pointed it out to Peter Lamborn Wilson for his
paper titled Cybernetics and Entheogenics: From Cyberspace to
Neurospace22, a short history of psychedelic cuture culminating in
the neurospace as "a second psychedelic revolution, a dialectic of re-
embodiment as opposed to the tendency toward false transcendence &
disembodiment in cyberspace". In the age of digital revolution we
have been witnessing the eclipse of body and desire in favour of the
exaltation of the cognitive experience. But now we face an exodus of
the energies invested before in the digital realm. Where are they
going to? The desire condensed on the net starts to colonise spaces
out of the net. It's the post-internet generation that applies the
net brainframe to politics and art, to the off-line spaces, to
previous analogic practices. It's not an anti-technology attitude but
a post-technology attitude. After the work of mourning for the
cyberspace utopia, a new experience of space is rising.
4. Forms of life in the neurospace: new political animals.
Imagining a new space of action for art and activism means to trace
new and probably wrong directions, because we don't have a techno-
determinism to trust under our feet. We head for the neurospace like
Hunter Thompson23 and Dr. Gonzo on their convertible towards Las
Vegas with the boot full of psychedelics. Gonzo-philosophy. From that
perspective the matrix of neurospace has not the appareance of
digital geometry, nor of fashionable biopolitics, but of zoopolitics,
that is not about the power on life but about political animals
capable of indipendent existence. This time we are not interested in
taking measures of power dispositifs but in watching how autonomous
forms of life create their own vital room and reproduce themselves.
The neurospace is a biosphere populated by strange organisms. It
is time again to consider mediascape as an extension of human
biosphere and recognise its figures as embodiments of our animal
instincts. The neuro prefix here does not means 'network' but the
nervous system of contemporary man immersed in a jungle of
stimulations. The genetic engineering of advanced capitalism, indeed,
has already populated the neurospace with its own Frankensteins:
movie stars becoming detergent brands, anthropomorphic goods climbing
skyscrapers as a King Kong, anatomical details cannibalising tv
screens more than a global war, robots replacing pets, TV actors
doing politics and politicians playing in TV serials. Looking better
we can distinguish zones of turbolence and resistance: radical pop
stars built bottom-up and videogames used as (bio)political weapons.
A method to map the neurospace is right that one of following
experimentations by the most radical social avant-gardes. Space is
renewed by conflict, Lefebvre remembers us. The new forms of media
activism we want to introduce are pioneers in a space yet not
explored by political theory, but well-known by capitalists,
marketing and mass desire, that feed it since ever.
For instance, the movement of temp and precarious workers that every
year organises the Euro May Day event (www.euromayday.org) re-
engineered the role of the leader and spokesman and created in Italy
a new saint for the precariat: San Precario (www.sanprecario.info) is
an open-source pop star that (as its forerunner Luther Blissett)
merges archetypical figures of italian collective imagery (saints)
with the latest social figures (temp workers). After his triumph as
the icon of the movement, San Precario generated in 2005 its anagram
Serpica Naro, an anglo-japanese virtual stylist at the center of a
historical hoax against Milano's Fashion Week, where she managed to
get a catwalk and media coverage as a real stylist. Serpica Naro
(www.serpicanaro.com) was useful to condemn the conditions of
precariuos workers within italian fashion industry, but especially to
create an open meta-brand that any stylist from the "radical fashion"
can use.
Serpica Naro is no anglojap stylist officially listed for Milano's
fashion week. Serpica Naro does not exist: everybody can be a
stylist. Serpica Naro is the anagram for San Precario, radical patron
of precarized temps. Serpica Naro is a metabrand. Serpica Naro is a
generous version of the Trademark. Everyone who identifies with
Serpica can be part of it. Serpica Naro is a place where alternative
imagery, style and self-production, creativity and radicalism meet.
Serpica Naro declares the end of the status and role of the
fashionistas and their ideological creations. She asserts a social
networking method and punctures a hole thru the fashion business by
which you can express social production and conflict. Serpica Naro is
an independent production of the senses, the opening of a public code
opening, the collective liberation of skills and minds. Serpica Naro
is a platform from building relationships, an open network constantly
growing and thickening. Our grannies taught us how to knit without
asking nothing for it in exchange. Serpica Naro is our new
"collective granny" sharing her knowledge and experience on the
needle trades. Serpica Naro is a website that expresses a precarious
style lab, gathering selfmade production together so to enhance the
sharing of work, knowledge and information. Existential instability
and social precarity are turned into active resources are made part
of a work in progress that pushes to us move and create new styles.
Creativity and experimentation meet the agitation and representation
of social conflict. Serpica Naro as metabrand of self-production is
our way of declaring that the fashion week is over and the season of
precarious conspiracy has started!24
Before Serpica Naro's masterstroke the spanish collective Yomango
(www.yomango.net) developed the concept and the idea of the meta-
brand. They created the meta-brand Yomango (that in spanish means "I
steal") to hit the popular fashion chain Mango by shoplifting
performances.
Yomango is a brand name whose goal is not the sale of products but
lifestyles, just like with all the other big brands. However, in the
case of Yomango, the lifestyle is based on shoplifting as a form of
disobedience and direct action against multinational corporations.
Just as the market captures desires, expectations and experiences and
sells them back as products, the Yomango style promotes the
"reapropriation" of what was once part of the commons.
In the field of brandscape as well we find Guerriglia Marketing
(www.guerrigliamarketing.it), a Rome-based agency that follows the
slogan "Fucking the market to enter it" rather than the moderate and
social-democratic "Entering the market to fuck it". Guerriglia
Marketing applies the media strategies developed by the global
movement to marketing to create very unstable and radically uncorrect
media hybrids. Such an agency was born to reclaim the innovation
capital and the imagery produced by global movements that has been
recuperating by corporation and big brands to upgrade their marketing
strategies (see for instance the Diesel campaign after Genova G8). On
the same level but by opposite means, the french collectives antipub
are active. They are anonymous and acephalous informal groups that
jam billboards and any kind of outdoor advertising in french cities,
as a form of protest and urban ecology for a new attention economy.
At the end of this short overview, among the media strategies of Euro
May Day we put also Molle Industria25 (www.molleindustria.it), a
collective of game designers that produce "political games", where
the typical shut'm'up narrativity, gender division and science
fiction set of commercial games are deconstructed. For instance
Tamatipico is a sort of Tamagotchi where the virtual pet is replaced
by a temp worker. Instructions say: "Tamatipico Is Your virtual
flexworker: He works, he rests and he has fun when you want him to!
Raise his productivity but pay attention to his energy and his
happyness because he could get injured or strike". The result is the
videogame format as a brand new political language and the
inscription of new social subjectivities and narrations into technology.
5. "People doing something with your nervous system"
San Precario moves into the space of popular imagery, Serpica Naro
and Yomango into the fashion and shopping imagery, Molle Industria
engages the Play Station generation, Guerriglia Marketing and the
antipub assault brandspace and ad media. Well, are they really new
forms of art and actvism? Compared to american and european pre-
internet counter-culture (from cultural jamming to neoism), those
projects seem to be more network-oriented than performance-oriented.
They are more keen into the public sphere, even if they look like
more mainstream aesthetics. Such examples show a new generation of
post-internet activism, where the net brainframe is applied to the
production of new subjectivities, where tecnologies turn into semio-
technologies. It's no more about a vertical assault on the Code, but
about a reengineering operation into the horizontal net constituting
reality. Activism, art, marketing share by now the same grammar and
work on the same networks.
As Guattari noted, the role of media in general is about the
prodution of subjectivities26 (and that is the case of collective pop
stars, meta-brands, games, but even new social figures such as the
precarious worker). Political activism, indeed, has been always more
worried about controlling content (counter-information),
communication channels (media activism), communication technologies
(hacking). In the neurospace activism turns into the production of
subjectivities, of forms of life and life styles. We could call it
bioactivism. After the technological turn of media activism and net
culture, we are facing now a biopolitical turn, that actually has
been the natural condition of capitalistic production since decades
(already in 1967 Ballard predicted the election of an actor named
Ronald Reagan27 at the head of United States, not to mention the last
adventures into the political mediascape by celebrities of the likes
of Berlusconi and Schwarzenegger). In other words, in neurospace we
witness the "biopolitical production"28 described by post-
structuralist and post-workerist thought at work, and in particular
those new strategies Hardt and Negri call generically "biopolitical
weapons"29. What is emerging is a new subculture of artists of the
neurospace, coders of neurobots, hackers of new semio-technologies,
engineers of collective subjectivities. So far we have been familiar
with "people doing strange things with electricity"30, now we believe
that the nervous system is taking the place of the internet and that
a new Ballardian generation is raising up, a generation of improbable
gonzobots, whose motto could be "people doing strange things with
your nervous system".
Matteo Pasquinelli
(mat AT rekombinant DOT org)
Hackney, London
July 2005
Translated by Matteo Pasquinelli, edited by Alex Foti.
Thanks to Mark Fisher (k-punk.abstractdynamics.org) for Ballard's quote.
Notes.
1 M. Serres, "J'habite une multiplicité d'espaces", in
L'interference, Minuit, Paris 1972.
2 F. Jameson, Postmodernism, or, The Cultural Logic of Late
Capitalism, Verso, London 1991, p364.
3 H. Lefebvre, La Production de l'espace, Anthropos, Paris 1974;
english edition, The Production of Space, Blackwell, Oxford 1991.
4 J. Meyrowitz, No Sense of Place: The Electronic Media on Social
Behavior, Oxford University Press, New York 1985.
5 S. Zizek, Benvenuti nel deserto del reale, Meltemi, Roma 2002.
6 M. Foucault, La volonté de savoir, Gallimard, Paris 1976.
7 See TMC Locative Reader, 2004, www.locative.net/tmcreader.
8 See Wikipedia, 2005, http://en.wikipedia.org/wiki/Mixed_reality.
9 Y. Moulier Boutang (edit.), L'età del capitalismo cognitivo, Ombre
Corte, Verona 2002.
10 J.F. Sherry, "Cereal Monogamy: Brand Loyalty as a Secular Ritual
in Consumer Culture", paper, Association for Consumer Research
conference, Toronto, Canada, 1986; "Advertising as a cultural
system", in Umiker-Sebeok (ed.), Marketing and Semiotics: New
Direction in the Study of Signs for Sales, 1987.
11 G. Bateson, Steps towards an Ecology of Mind, The University of
Chicago Press, Chicago 1972.
12 F. Guattari, Chaosmose, Galilée, Paris 1992.
13 M. Dery, Culture Jamming: Hacking, Slashing and Sniping in the
Empire of Signs, Open Magazine Pamphlet Series, 1993,
www.markdery.com/archives/books/culture_jamming.
14 J.G. Ballard, The Atrocity Exhibion, Jonathan Cape, London 1970.
15 W. Gibson, Neuromancer, Ace Book, New York 1984.
16 W. Gibson, In the visegrips of Dr. Satan (with Vannevar Bush),
talk, Vancouver Art Gallery, 2002, www.williamgibsonbooks.com/archive/
2003_01_28_archive.asp.
17 W. Gibson, Idoru, Putnam, Berkeley (USA) 1996.
18 W. Gibson, Pattern recognition, Putnam, Berkeley (USA) 2003.
19 M. McLuhan, Understanding Media: The Extensions of Man, McGraw-
Hill, New York 1964
20 G. Deleuze, F. Guattari, L'Anti-Oedipe. Capitalisme et
schizophrénie, Minuit, Parigi 1972.
21 Ibid.
22 See www.t0.or.at/hakimbey/neurospc.htm.
23 H. Thompson, Fear and loathing in Las Vegas, Random House, New
York 1972.
24 Serpica Naro's press release, www.serpicanaro.com/press/
oper_serpica_en.zip
25 BBC interview with Paolo Pedercini,
http://news.bbc.co.uk/1/hi/programmes/click_online/3622088.stm,
www.bbcworld.com/content/clickonline_archive_34_2004.asp?
pageid=666&co_pageid=3
26 See F. Guattari, Les trois écologies, Galilée, Paris, 1987.
27 J.G. Ballard, Why I Want to Fuck Ronald Reagan, 1967; in "Ronald
Reagan: The Magazine Poetry", 1968.
28 See "Biopolitical Production" in M. Hardt, A. Negri, Empire,
Harvard University Press, Cambridge (MA) 2000.
29 M. Hardt, A. Negri, Multitude, Penguin Press, 2004.
30 Dorkbot meetings motto, www.dorkbot.com.