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G33koskop G33koskop is about the cultural and artistic practices of authentic internet culture, as well as the history of technical culture in this region. Such practices occupy the space between technical innovation and the construction of infrastructure, between new-media art, theoretical reflection on the media, and social activism. These are characterized by artistic and activist projects that often establish important infrastructures that public administrations and the market have failed to provide, and by the emergence of communities of enthusiasts that continue the tradition of avant-garde artistic and political movements. Projects and communities such as Wikipedia – the largest collaboratively written encyclopaedia in history, Aaaaarg.org – a collaborative research forum of critical theory, OpenStreetMaps – the largest free location database (world map) collected by a group of enthusiasts, Wikileaks – the largest world platform for the anonymous publication of documents on corruption, Free Software Movement, The Pirate Bay, Anonymous, Lulzsec, and others. On geek culture The relationship between information and communication technologies and culture, understood as a series of mostly social, i.e. humanistic symbolic practices, is one of the most interesting subjects among the current theoretical interpretations of the modern world. The accelerated evolution of technology permeates all spheres of contemporary culture: from aesthetics and art through the specific issues related to the positions of power and access to (information and cultural) resources, to the issues of authorship, originality, and integrity of work and/or its author. The most common interpretation of the relationship between technology and culture is an attempt to estimate to what extent something given has been transformed in its encounter with something new (as a consequence of technological development). It happens very rarely that the subject of such considerations is culture that has emerged in direct interaction with the new, in this case with the development of digital communication technologies. It happens even more rarely that people whose lifestyle has been shaped by the new digital communication technologies are in the focus of reflection. These people have become known as geeks, a term coined in the US in the second half of the 20th century. The meaning and connotations of the term “geek” has been radically transformed in the past decades: in the early days of computer technologies, it was primarily used to denote a person (mostly an adolescent) who was completely devoted to the new technologies and therefore (according to the stereotype) had underdeveloped social skills, and was viewed by the society as a “misfit”, a bizarre and marginal individual. As the new technologies were increasingly adopted by the society, knowledge that the geeks possessed was becoming more sought for and more acceptable. With time, geek culture was recognized and its representatives are now considered as highly evolved and progressive members of the society at large. The myth about the self-sufficient supergeek with an extraordinary IQ and highly developed skills could develop owing to the economic boom in the field of PC production, in which young people could become staggeringly rich in a very short period of time. The myth involves a period of frustrations that these individuals experienced in their adolescence because of being rejected by the society and their later (symbolic) revenge, embodied in their exceptional wealth and their ascent on the social ladder. The impact of geek culture on popular culture in the past twenty years has been immense: cyberpunk, online games, computer animation, internet collaborations, science fiction, conspiracy theories, cranky humour, bizarre hobbies, and collecting craze are only some of the fields in which geek culture has exerted this impact. In its own, characteristic way, geek culture has re-actualized and appropriated many different subcultural legacies, such as the counterculture, the hippie movement, punk, etc. Danish theoretician Lars Konzack has called geek culture “the third counterculture,” as the counterculture of the 1960s and the yuppie counterculture of the 1980s were followed by a third important counterculture of youngsters closely related to computer technologies (Lars Konzack, “Geek culture, The 3rd Counter-Culture,” presented June 26-28, 2006 at FNG2006 conference in Preston, UK). Geek culture is obsessed with knowledge and information, and aesthetically it often reaches for marginal, bizarre, tasteless, and radical phenomena, which do not fit into the mainstream culture. Like everything else that relates to the new technologies, geek culture is primarily a cultural narrative determined by the North-American context. Eastern Europe, on the other hand –including the Croatian culture with its socialist legacy – gives a special stamp to geek culture through its disappointment with the universal power of knowledge and social progress. Moreover, the socialist culture of technical education, present in technological associations, amateur photo and film clubs, and other similar institutions, provides a specific context to the evolution of geek culture in Croatia. The probably most relevant branch of geek culture is the hacker culture and the Free Software Movement. The culture of giving and the selflessly sharing of information, the open code principle, and the tested and successful models of collaboration known from the world of free software have served as an inspiration and a model for wider circles of the society. A movement modelled upon the free software movement is the Free Culture Movement, which has formed around the initiative of alternative approach to copyright (Creative Commons). Coordinator of G33koskop is Marcell Mars.
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G33koskop G33koskop se bavi kulturnim i umjetničkim praksama autentične internet kulture, kao i povješću tehničke kulture ovih prostora. Takve prakse zauzimaju prostor između tehničkih inovacija i izgradnje infrastrukture, novomedijske umjetnosti, medijske teorijske refleksije i društvenog aktivizma. Njih karakteriziraju umjetnički i aktivistički projekti koji često uspostavljaju važne infrastrukture koje državne uprave i tržište ne uspijevaju iznjedriti te pojava zajednica entuzijasta koji nastavljaju tradiciju avangardnih umjetničkih i političkih pokreta. Projekti i zjaednice poput: Wikipedije – najveće kolaborativno napisane enciklopedije u povijesti , Aaaaarg.org – suradnički istraživački forum kritičke teorije, OpenStreetMaps – najveće besplatne lokacijske baze podataka (mape svijeta) prikupljenih od strane zajednice entuzijasta, Wikileaks – najveće svjetske platforme za anonimnu objavu dokumenata o korupciji, Pokret za razvoj slobodnog softvera, The Pirate Bay, Anonymous, Lulzsec i drugi. O geek kulturi Odnos informacijsko-komunikacijskih tehnologija i kulture, shvaćene kao niz uglavnom društvenih, odnosno humanističkih simboličkih praksi, jedna je od najzanimljivijih tema među aktualnim teorijskim interpretacijama suvremenog svijeta. Ubrzani razvoj tehnologije prožima sve sfere suvremene kulture: od estetike, umjetnosti, preko specifičnih tema pozicija moći, raspolaganja (informacijskim/kulturnim) resursima, pitanja autorstva, originalnosti do integriteta djela i/ili autora. Najčešća interpretacija odnosa između tehnologije i kulture, pokušaj je procjene u kolikoj mjeri se nešto staro transformiralo u susretu s nečim novim (kao posljedicom tehnološkog razvoja). Vrlo rijetko je u fokusu interesa kultura koja nastaje u izravnoj inetrakciji s novim, u ovom slučaju s razvojem digitalnih komunikacijskih tehnologija. Još rjeđe su u fokusu ljudi čiji je životni stil oblikovan novim komunikacijsko-digitalnim tehnologijama. Za takve ljude udomaćio se izraz – gik (eng. geek), nastao u SAD u drugoj polovici 20. stoljeća. Značenje i konotacija pojma “geek” u zadnjih nekoliko desetljeća radikalno se mijenjala: u samim počecima razvoja računalnih tehnologija, “geek” je prije svega značio čovjeka (najčešće adolescenta) potpuno posvećenog novim tehnologijama, koji (prema stereotipu) nema razvijene socijalne vještine i društvo ga vidi kao “iščašenog”, bizarnog i marginalnog. Kako su se nove tehnologije prihvaćale od strane društva, znanje o novim tehnologijama koje su “geekovi” posjedovali postajalo je sve traženije i prihvatljivije. S vremenom je geek kultura bivala sve prihvaćenijom, a njezini pripadnici postali su napredni i progresivni članovi šireg društva. Stvaranju mita o nad-geeku koji je nadprosječno inteligentan, izrazito vješt i samodovoljan, pogodavala je ekeonomska eksplozija u proizvodnji privatnih računala, u kojoj su se u vrlo kratkom vremenu mladi ljudi fascinatno obogatili. Taj mit uključuje razdoblje frustracije zbog društvenog odbacivanja kroz adolescenciju i kasniju (simboličku) osvetu u iznimnom bogaćenju i uspinjanju na društvenoj ljestvici. Utjecaj geek kulture na popularnu kulturu u zadnjih dvadesetak godina gotovo je nesaglediv: cyberpunk, računalne igre, računalna animacija, mrežne kolaboracije, znanstvena fantastika, teorije zavjere, iščašeni humor, bizarni hobiji i kolekcionarstvo, samo su neka od područja na kojima geek kultura izvršila nemali utjecaj. Geek kultura reaktualizirala je i na sebi svojstven način obradila različita supkulturna nasljeđa, kao što su kontrakultura, hippie pokret, punk i dr. Geek kulturu danski teoretičar Lars Konzack naziva trećom kontrakulturom, koji nakon kontrakulture 60-ih, i Yuppie kontrakulture 80-ih, treću utjecajnu kontrakulturu vidi u omladinskoj kulturi blisko vezanoj za računalnu tehnologiju. (Lars Konzack: Geek culture, The 3rd Counter-Culture; prezentirano 26.-28. lipnja 2006. na FNG2006. konferenciji u Prestonu, Engleska). Geek kultura je opsjednuta znanjem, informacijama, a u estetskom smislu najčešće poseže za rubnim, marginalnim, bizarnim, neukusnim i radikalnim fenomenima, koji se ne uklapaju u kulturu srednja struje. Poput svega što je u dodiru s novim tehnologijama i geek kultura je prvenstveno kulturalni narativ određen sjevernoameričkim kontekstom. Istočna Evropa, s druge strane – tu spada i hrvatska kultura sa svojim socijalističkim nasljeđem – geek kulturi daje poseban karakter svojim razočarenjem u svemoć znanja i društvenog progresa. Također, socijalistička kultura tehničkog obrazovanja, prisutna kroz zajednice tehničke kulture, razne amaterske foto i kino-klubove i druge slične institucije, daje osobit kontekst razvoju geek kulture u Hrvatskoj. Vjerojatno najrelevantniji ogranak geek kulture su hakerska kultura i Pokret slobodnog softvera. Kultura davanja i nesebične razmjene informacija, princip otvaranja koda, te prokušani i uspješni modeli kolaborativnog rada poznati iz svijeta slobodnog softvera postali su inspiracija i model širim društvenim krugovima. Pokret nastao na temeljima slobodnog softvera naziva se Pokret slobodne kulture, a okupljen je oko inicijative alternativnog pristupa autorskim pravima (CreativeCommons). Voditelj G33koskopa je Marcell Mars.