Tactical media

Performance and digitality constitute an onto-historical apparatus or dispositif reshaping cultures globally, yet our engagement with these performative circuits remains out-of-sync and ineffective, especially at the levels of knowledge and power, thought and action. Within higher education, modern disciplinary methods, arborescent institutional structures, and logocentric literacies inhibit the critico-creative syntheses needed to engage and resist neoliberal modes of performativity. In contemporary societies of control, universities around the world face daunting economic and political pressures to transform and innovate, while tradi- tional forms of academic research and education struggle to contend with young people’s attachments to mobile technologies, social media, and consumer-driven design practices. StudioLab is a critical design pedagogy that seeks to democratize emerging forms and processes of digitality by supplementing seminar-based critical thinking with studio-based design thinking and lab-based tactical media-making. In StudioLab, students roleplay as critical design teams to research and create conceptually-rich projects that address contemporary social challenges through a variety of media forms and events. Critical design teams combine cultural, organizational, and technological performances and learn ways to introduce values of cultural efficacy into structures dominated by organizational efficiency and technological effectiveness, thereby generating creative and potentially transformative micro-transvaluations in themselves and others. This performative matrix of valorizations helps to situate StudioLab’s practices of democratizing digitality and suggests new figurations of thought and action, new experiential architectures.

Football penalty kicks are having increasing influence in today’s professional game. Despite this, little scientific evidence currently exists to ascertain the mechanisms behind performance failure in this task and/or the efficacy of training designed to improve penalty shooting. In a football penalty kick it has been reported that the majority of kickers do not look to the area they wish to place the ball; preferring to focus on the ‘keeper and predict anticipatory movements before shooting. Such a strategy seems counterproductive and contradictory to current research findings regarding visually guided aiming. Coordination of eye and limb movements has been shown to be essential for the production of accurate motor responses. A disruption to this coordination not only seems to negatively affect performance, but subsequent motor responses seem to follow direction of gaze. Thus, where the eyes lead actions tend to follow. In study 1, ten participants were asked to kick a standard sized football to alternate corners of a goal, whilst looking centrally and whilst looking where they intended to hit. This disruption of eye-limb coordination brought about a 15% reduction in kicking accuracy. When participants were asked to fixate centrally, their shots hit more centrally (17cm) than when they were allowed to look where they intended to hit. These results were in spite of no significant differences between the number of missed shots, preparation time and ball speed data across conditions. We concluded that centrally focused fixations dragged resultant motor actions inwards towards more central target locations. Put simply, where the eyes looked shots tended to follow. The second study sought to test the predictions of attentional control theory (ACT) in a sporting environment in order to establish how anxiety affects performance in penalty kicks. Fourteen experienced footballers took penalty kicks under low- and high-threat counterbalanced conditions while wearing a gaze registration system. Fixations to target locations (goalkeeper and goal area) were determined using frame-by-frame analysis. When anxious, footballers made faster first fixations and fixated for significantly longer toward the goalkeeper. This disruption in gaze behaviour brought about significant reductions in shooting accuracy, with shots becoming significantly centralized and within the goalkeeper’s reach. These findings support the predictions of ACT, as anxious participants were more likely to focus on the “threatening” goalkeeper, owing to an increased influence of the stimulus-driven attentional control system. A further prediction of ACT is that when anxious, performers are more likely to be distracted, particularly if the distracter is threat related. When facing penalty kicks in football (soccer), goalkeepers frequently incorporate strategies that are designed to distract the kicker. However, no direct empirical evidence exists to ascertain what effect such visual distractions have on the attentional control, and performance, of footballers. In the third study, eighteen experienced footballers took five penalty kicks under counterbalanced conditions of threat (low vs. high) and goalkeeper movement (stationary vs. waving arms) while wearing eye-tracking equipment. Results suggested that participants were more distracted by a moving goalkeeper than a stationary one and struggled to disengage from a moving goalkeeper under situations of high threat. Significantly more penalties were saved on trials when the goalkeeper was moving and shots were also generally hit closer to the goalkeeper (centrally) on these trials. The results provide partial support for the predictions of attentional control theory and implications for kickers and goalkeepers are discussed. The previous studies showed that anxiety can disrupt visual attention, visuomotor control and subsequent shot location in penalty kicks. However, optimal visual attention has been trained in other far aiming skills, improving performance and resistance to pressure. In study 4, we therefore asked a team of ten university soccer players to follow a quiet eye (QE; Vickers, 1996) training program, designed to align gaze with aiming intention to optimal scoring zones, over a seven week period. Performance and gaze parameters were compared to a placebo group (ten players) who received no instruction, but practiced the same number of penalty kicks over the same time frame. Results from a retention test indicated that the QE trained group had more effective visual attentional control; were significantly more accurate; and had 50% fewer shots saved by the goalkeeper than the placebo group. Both groups then competed in a penalty shootout to explore the influence of anxiety on attentional control and shooting accuracy. Under the pressure of the shootout the QE trained group failed to maintain their accuracy advantage, despite maintaining more distal aiming fixations of longer duration. The results therefore provide only partial support for the effectiveness of brief QE training interventions for experienced performers. This series of studies are the first to explore the gaze behaviour of football penalty takers in a quest to uncover and understand anxiety’s negative influence on attentional control and performance. They are also the first to explore the efficacy of goalkeeper distractions and training in improving performance from both the goalkeeper’s and kicker’s perspective. The results of these studies conclude that when anxious, penalty takers show an attentional bias toward the ‘threatening’ goalkeeper that can be increased and utilised by a goalkeeper employing distraction techniques and that penalty takers do benefit, to some extent, from a gaze-based pre-shot routine

16th century ‘face to face’ persuasion scams adopted to letters, telephone, fax and Internet with the development of new communication technologies. In many of today’s fraud schemes phone numbers play an important role. Various free-to-use on-line tools enable the scammers to hide their identities with fake names, bogus business websites, and VoIP services. These fake businesses or personas can appear more legitimate when connected to a phone number, enabling a faster, more personal contact to the victims. With the typology of a sample probe of 374 emails, commonly used in business proposal scams, the emails were categorized and tested to see how believable the proposals sound once the scammers were contacted by phone. The research can be explored in a 5-channel interactive audio installation called ‘Let’s talk business’ that uncovers which business proposals and scam schemes are commonly used, and how believable the proposals sound once the scammers are called.

Esta pesquisa verifica a adaptação do conceito de “tática” desenvolvido por Michel de Certeau e utilizado como fundação teórica de um movimento denominado Midia Tática. Com origens na Europa no final do século XX, este movimento herda modos de expressões culturais aliados à uma construção crítica do aparato tecnológico, notadamente das mídias eletrônicas e informáticas. Situamos a discussão
sociológica a partir do conceito de racionalidade emergido no debate sobre recentes mutações na configuração do capitalismo e da tendências à novas formas de dominação que se erguem apoiadas no desenvolvimento tecnológico e na mudança das condutas erigidas das transformações do século XX. Para isso, situamos a Mídia Tática no contexto e discussões que deram origem a esta percepção e discutimos aspectos de recentes manifestações de oposição enquanto culturas que se utilizam desta noção em seus diferentes aspectos de intervenção. A intenção é observar os módulos de conflito e contradições que se dão quando o aumento das manipulações tecnológicas entram em contato com novas formações coletivas e padrões individuais e verificar os elementos políticos e culturais que resultam desta junção.

This paper discusses three methodological themes employed by contemporary media artists who reuse obsolete information technology hardware in their work. Methodologies include the exploration of the hidden “blackboxed” layer of technology by circuit bending artists like Reed Ghazala, the tactical use of technologies to bring social change by artists like Natalie Jeremijenko, and the archaeological use of outdated technologies to intervene in history by artists like Tom Jennings. These themes are presented as useful tools to construct a language of reuse which serves a valuable function in a culture increasingly confronted by electronic waste and assists in critiquing assumptions of obsolescence, technological progress and understanding digital culture primarily within the framework of “new media.”

Objetivo: Brindar una herramienta al policía, que le permita fortalecer sus competencias para actuar de manera preventiva y táctica en la atención a los motivos de policía, basado en los principios fundamentales del uso diferenciado de la fuerza y en el respeto por los Derechos Humanos. Alcance: Esta guía debe ser aplicada por los policías de Colombia, antes, durante y después de la intervención en los motivos de policía en todo el territorio nacional, no busca cambiar ni estandarizar los procedimientos policiales, pretende lograr una actuación sustentada en el criterio profesional en coherencia con el entrenamiento de diferentes técnicas y tácticas policiales.

See the world through the eyes of a search engine, if only for a millisecond; throw the workings of power into sharper relief by any media necessary; reveal access points to other worlds within our own. In the anthology Fiction as Method, a mixture of new and established names in the fields of contemporary art, media theory, philosophy, and speculative fiction explore the diverse ways fiction manifests, and provide insights into subjects ranging from the hive mind of the art collective 0rphan Drift to the protocols of online self-presentation. With an extended introduction by the editors, the book invites reflection on how fictions proliferate, take on flesh, and are carried by a wide variety of mediums—including, but not limited to, the written word. In each case, fiction is bound up with the production and modulation of desire, the enfolding of matter and meaning, and the blending of practices that cast the existing world in a new light with those that participate in the creation of new openings of the possible.

RESUMEN Objetivo: determinar los efectos de la propuesta metodológica sobre la percepción visual en acciones tácticas defensivas en boxeadores de Santander, Colombia. Muestra y Metodología: se elaboró y ejecutaron ejercicios específicos para cada habilidad visual, suministrados en las diferentes etapas de entrenamiento mediante un Macrociclo integrador de 85 unidades de entrenamiento. Los estímulos perceptivo visual se aplicaron a una muestra de tipo no probabilística (n=12) en Boxeadores Categoría adultos pertenecientes al Departamento de Santander (Colombia), con Edad 23,4±4; división de peso 63±10; años de práctica 6±4,1. Las evaluaciones se realizaron en competencia y se registraron las variables analizadas (defensas ante golpes rectos), los datos fueron obtenidos por medio de los test oculares específicos para cada habilidad perceptiva visual, determinando la significancia del estudio p≤0,05, estadística descriptiva (media y desviación estándar), test de Shapiro Wilk para verificar la normalidad, transformación de datos logarítmicos (LN), T Student para muestras relacionadas, test no paramétrico de Wilcoxon. Los resultados obtenidos muestran una diferencia significativa entre el Pre-Test y el Post-Test después de aplicada la metodología propuesta para cada una de las variables analizadas, concluyendo que la alternativa metodológica mejora significativamente la defesa ante los ataques con golpes rectos en boxeadores. ABSTRACT Objective: to determine the effects of the methodological proposal on visual perception in defensive tactical actions in boxers from Santander, Colombia. Sample and Methodology: specific exercises were elaborated and executed for each visual ability, supplied in the different stages of training through an integrating Macrocycle of 85 training units. Visual perceptual stimuli were applied to a sample of non-probabilistic type (n = 12) in Boxers Adult category belonging to the Department of Santander (Colombia), with Age 23.4 ± 4; Weight division 63 ± 10; years of practice 6 ± 4.1. The evaluations were carried out in competition and the analyzed variables were recorded (defenses against straight blows), the data were obtained by means of the specific eye tests for each visual perceptual ability, determining the significance of the study p≤0.05, descriptive statistics (mean and standard deviation), Shapiro Wilk test to verify normality, logarithmic

The West and the Rest: Discourse and Power
Hassan Gorkey



Stuart Hall, in his dissertation “The West and the Rest: Discourse and Power” has described how the people living outside the “West” have been depicted by western civilization as “others” during the known history. To him, the present deportment of considering non-western people and their cultures as ‘inferior ones’ has a long past, starting from Greek civilization. This conception got a functional shape in the early fifteenth century, when the Portuguese voyagers landed on African coast in 1430. It was closely followed by Columbus’s trip to a ‘New World’, America, in 1492 exploring the first physical existence of geographical ‘otherness'. These two consecutive successes made Western European people confident of their technological ability and kindled their psyche to expedite venture for the unknown part of the world. As a result, by the eighteenth century Portugal, Spain, England, France and Holland annexed and colonized a large portion of Asia, Africa and America. It enthused them to enjoy a sense of superiority that, in course of time, turned into western hegemony and has been governing the world during last five centuries.

During the mediaeval era (5th to 15th century), the main sources of knowledge were classical belief, religious dogma, mythology and travelers’ tales. Citing Edward Said, Hall (1996) shows that it is like an archive, a storehouse of knowledge, refusing any kind of counter opinion or new explanation. Long before the beginning of colonization, Europeans thought themselves to be ‘the center’ of the earth- topographically, ideologically and culturally. They believed that rest of the world is populated by substandard humans along with cannibals, pygmies, giants and fairies and thereby showing their inferiority. With the comparative enrichment of knowledge about physical world, Europeans started to come out from fancies but could not overcome their predispositions.

So when the settlers conquered a new land, first thing they used to do was to capture the natives as slave. For example, within 14 years of sailing down Africa, Portuguese settlers started slave trading. This trend was followed by England, France and Spain. Later they used to clutch the natural resources through trade or simply by forceful grabbing.  While doing so, the “West” depicted the “Rest” as passive, dull in intellect, and dependent on nature. Astonishingly the present world is continuing that tradition. In the following three paragraphs, I would like to focus on how the “West” presently portray the ‘Rest’, the way they were used to, in the past.

Practically, nowadays, the “West” is being driven by a cluster of concepts about ‘others’ keeping the old tradition intact. Classical knowledge has been replaced by a presumption about the ‘non-western’ people. Religion and mythology have been substituted by a sense of intellectual superiority. And travelers’ tale has been swept by the findings of western researchers- who work on economic, social and political arena of the ‘Rest’. ‘West’ believes and make others believe that ‘others’ are not socially or psychologically sound. They are not capable enough to make a positive contribution to the present civilization. So they should be guided by the recommendations made by the western intelligentsia.

At the end of middle age, Europe began to find some facts concerning the real topography of the world, people living beyond Europe and their culture. But Europe could not come out from its old belief about nonwestern people. They went on idealizing the ‘others’ as simple, meager, innocent and dependent on nature. Similarly in present days, the “West” depicts a picture that tells, people’s life in third world countries are mainly nature based. They have almost a primordial society with few modern goods and amenities. But this is not the real picture. Social structures of developing countries have their own uniqueness and naturally they are different from that of the “West”. This is not a matter of superiority or inferiority; rather an issue of distinctiveness. When Spanish voyagers reached in western hemisphere (1492) it was already inhabited by 16 million people surviving ably for centuries. Likewise, when Portuguese conquerors landed at Indian coast (1498), it had already been a civilization with a stable social structure and rich culture. Even there had been a civil society comprised of economists, poets, philosophers and musicians. But during last five centuries ‘West’ has been engaged in painting the same archetype picture of India: ill health unruly poor people, absence of good governance, chaotic society, hunger and above all intellectual poverty, though there are some quite opposite pictures too.

So the supposition is that, a culture can never be properly comprehended by the people of other cultural sections. And if someone tries to describe the characteristics of a culture, which s/he does not belong to, possibility is that it would not be a factual one. So, to better understand and cooperate with other cultures, we can deduce the following guideline from Hall’s (1996) ideas presented in “The West and the Rest: Discourse and Power”:

(1) Each culture has its own inimitable explanation about the life style, philosophy, rituals, customs, norms and beliefs of its members. So, instead of assuming or conducting research from distance, if we directly communicate people and know about their cultural sensations, we will better understand it. (2) While communicating with them, we need to create a natural and ‘others’ friendly atmosphere, so that they do not hesitate to expose themselves. (3) To be able to communicate with other cultures, we, at the very outset, need to push away our sense of ‘otherness’, if there is any in our hidden self. It is not enough to recognize the difference; rather, to make the counterparts comfortable and happy, we should make them feel that we really honor their cultures (4) Landing Caribbean shore Spaniards thought it to be India. Similarly depending on some secret service reports, the then US statesmen thought that Iraq had weapons of mass destruction followed by an unwanted war. So, knowing truth about other cultures is important not only to create a successful communication but also to avoid mishaps that might promise a safe and friendly blue planet.

Anxiety has been shown to disrupt visual attention, visuomotor control and subsequent shot location in soccer penalty kicks. However, optimal visual attention has been trained in other far aiming skills, improving performance and resistance to pressure. We therefore asked a team of ten university soccer players to follow a quiet eye (QE; Vickers, 1996) training program, designed to align gaze with aiming intention to optimal scoring zones, over a seven week period. Performance and gaze parameters were compared to a placebo group (ten players) who received no instruction, but practiced the same number of penalty kicks over the same time frame. Results from a retention test indicated that the QE trained group had more effective visual attentional control; were significantly more accurate; and had 50% fewer shots saved by the goalkeeper than the placebo group. Both groups then competed in a penalty shootout to explore the influence of anxiety on attentional control and shooting accuracy. Under the pressure of the shootout the QE trained group failed to maintain their accuracy advantage, despite maintaining more distal aiming fixations of longer duration. The results therefore provide only partial support for the effectiveness of brief QE training interventions for experienced performers.

Humour and satire have figured only marginally in the recent groundswell of activist literature dedicated to the renewal of tools, tactics, and strategies. In an effort to evaluate the effectiveness and appropriateness of humour and media hoaxing as tactics within activist communities-in a moment characterized by increased distrust in news organizations and information-this essay offers insight into artist and activist thinking on a topic rarely discussed in social justice activism circles. In drawing on the views and perspectives of individuals that participated in a weekend-long workshop held in Halifax, Nova Scotia, and run by the Yes Lab for Creative Activism, I argue that humour and media hoaxing are under-utilized tactics and approaches that nevertheless inspire a great deal of discussion and reflection, and retain a distinctly positive charge in their future application to social justice struggle. More specifically, interviews culled from this one-time event point to the challenges and opportunities of integrating media strategies, humour, and hoaxing, all the while acknowledging the defining tensions and asymmetries that mark the current moment.

Platforms constitute a political communications battlespace in which a plurality of social actors-from Left to Right-struggle for recognition and attention, try to organize consent to their ideologies, and seek to influence how people think and behave. In the spirit of this special issue's investigation of the tactical political uses of new media to bring about social change, this article demonstrates how contemporary platforms are a space of battle, fought over by the alt-right's white nationalist fascists and a new Left's "digital united front." Drawing upon numerous examples of fascist and antifascist tactical interventions across the platforms, this article is optimistic that the power of the alt-right to win hearts and minds may be waning due to the growth and widespread support for the Left's digital united front. To this end, this article's first section contextualizes the revival of the hard Right's "authoritarian populism" under the auspices of the US Trump presidency and defines the contemporary "alt-right." The article's second section surveys the alt-right's political uses of platforms, and highlights some of these platforms' affordances to the alt-right's reach and ideological influence. The third section conceptualizes the Left's "digital united front," and catalogues some of its tactics for countering platform fascists: no-platforming, doxing, video ideology critique, and memes. This article's overview of the alt-right's platformization of fascism and the Left's digital united front is not comprehensive, but aims to highlight some salient instances of "what's being done" by the alt-right to platform fascism, and "what's being done" by the Left to disrupt this threat. By scrutinizing the alt-right's platformization of fascism and championing the Left's digital united front, this article aims to contribute to knowledge about the politics of tactical media in the age of platforms, and be a praxiological primer for battling the alt-right. The conclusion critically assesses the notion that the US has become a "fascist" country.

Delirium and Resistance after the Social Turn is an essay about the state of Social Practice Art today. It grew out of a paper presented at a panel organized by Michael Birchall and Megan Johnstony entitled "The Curatorialization of Activism in Art as a Neo-Avant-Garde" and programmed as part of the 2014 Open Engagement conference at the International Studio and Curatorial Program in Brooklyn, NY (May 16, 2014). The final version of the paper premiered in the Spring 2015 inaugural issue of FIELD: A Journal of Socially Engaged Art Criticism. The paper revisits The Interventionists exhibition at MASS MoCA just over ten years ago in order to critically reflect on the remarkable and paradoxical ascent of social practice art today in what for so many is a dysfunctional, even bankrupt society. Please click on the link to FIELD to read the piece in context and to find other papers in this first issue: http://field-journal.com

In my first essay for a series commissioned by ANIMAL NY, I outline how trying to find women who've slept with infamous pick up artist Roosh V to create a platform for their experience became an opportunity to interview the "the web's most infamous misogynist" himself.

The Facebook page of the anti-copyright The Pirate Bay (TPB) explains much about the group in few words. “We like copies,” it explains, “just don’t let the others fool you.” The paradoxical phrase reveals the contradictions of TPB. Their use of “copies” deliberately chaffs with their opponents who equate piracy with theft of intellectual property. Pirates copy digital bits; they do not steal intellectual property. Championing copying is problematic for a group at the center of the Piracy Movement. The warning that “others [might] fool you” acknowledges the tensions brought about by celebrating copying while depending on their privileged voice. This article addresses these contradictions by describing TPB as an assemblage defined by conflicting forces of centripetal pull and centrifugal push. Understanding the contradictions of TPB offers greater insights into the challenges faced by other Hacktivism groups as they struggle for political change and legitimacy.

While previous studies have explored how quiet-eye (QE) training optimizes objective (visual attention) control in aiming tasks, this study examined whether QE training influences perceived (psychological) control and how changes in control beliefs correspond to changes in anxiety, visual attention and performance under pressure.

Two groups of ten experienced soccer penalty takers followed either a QE training program or a practice program where penalty kicks were practiced with no instruction. Measurements of anxiety, gaze, performance and perceived control were recorded over baseline, retention and a competitive, ’shoot-out’ transfer condition.

Not only did the QE training optimize aiming behavior and performance, but these changes in visual attention were mirrored in changes in control beliefs. QE participants significantly reduced their perceptions of outcome uncertainty (contingency) and increased their perceptions of shooting ability (competence) and ability to score and cope with the pressure (control), compared to practice participants. Furthermore, there was an overall and significant relationship between high perceptions of control beliefs and aiming behavior. Specifically, those participants with high control beliefs were more likely to aim optimally and further from the goalkeeper, whereas participants with low control beliefs experienced suboptimal and more centralized aiming behavior.

These findings are the first to highlight the relationship between control beliefs, anxiety and attentional control in sport and offer further explanations regarding the benefits of QE training for performance under pressure.

Tesis para el grado de Licenciado en Artes Visuales.

Esta tesis sobre los dispositivos móviles como medios tácticos traza el fenómeno del tactical media como un conjunto de prácticas artísticas que atraviesan tres dominios de discurso. El primer dominio de discurso es el dominio de la tecnología y los medios o dispositivos tecnológicos, principalmente los medios de comunicación como lo son los sistemas de información y telecomunicaciones. El segundo dominio es el del arte, en específico el arte de vanguardia y las aspiraciones más destacadas del tactical media influenciadas por estas vanguardias. Y el tercero es el dominio que corresponde al activismo social y político, como ahora se le conoce a ciertas prácticas derivadas de la militancia política. Las practicas del tactical media como fenómeno reciente se definen a si mismas al navegar a través de estos tres dominios, tomando elementos de cada uno y componiendo su propio discurso.

This paper proposes a reflection on the tactical modes of production and consumption of spatial structures from the study of urban situations located in the center and the periphery. The argument is based on the critique of political economy applied to the social production of space, as discussed by Michel de Certeau, David Harvey, and Neil Brenner. The Marxist concept of estrangement (Entfremdung) is the basis for the presentation of Tactical Urbanism as an alternative to Neoliberal Urbanism, as it reveals the dialectics between production and consumption. Suppose the human condition depends on work, production, and consumption. In that case, the critique must be about the modes of producing and consuming and about the processes of objectification, subjectification, and material appropriation. I recognize the everyday life importance of tactical practices, and I identify the contradictions inherent in the approach by presenting four examples. They were selected according to their position concerning the center on a global and a local scale: the "Central Line Party" in London (United Kingdom), located in the center of a city in the Global North; the "Station Beach" in Belo Horizonte (Brazil), in a central neighborhood in the South; the "Park (ing) Day" in San Francisco (United States), in a peripheral region in the North; and "Nego's Playground" in Esmeraldas (Brazil), on the outskirts of a peripheral city in the Global South. These cases reveal the different material conditions of neoliberal cooptation. The tactical practices of the periphery reveal other possibilities of disruption of the neoliberal strategic planning system.

El objetivo de este artículo es analizar la interpretación predictiva de la acción táctica del adversario, en deportistas masculinos juveniles con un mínimo de dos años y un máximo seis años de entrenamiento de taekwondo. Con un diseño descriptivo cualitativo. Su metodología fue triangular una instrumentalización a través de una entrevista expostfacto (la cual, se analizo bajo criterios de concordancia o discordancia del discurso), descripción de los acontecimientos y videogr abación. Consecuentemente los resultados muestran un predominio de discordancia entre la triangulación sistemática desarrollada para el análisis del estudio. Acorde a los objetivos se identificó y caracterizó bajo análisis sistemático, concluyendo un predominio en la discordancia de los proceso tácticos en los deportistas, consecuentemente los límites de esta investigación son de orden particular, pudiendo servir como referencia específica, más su metodología extrapolarse aplicar y utilizar con otros grupos de estudio. La confiabilidad del instrumento utilizado se manifiesta en la triangulación instrumentalizada por consistencia interna consecuentemente.

Palabras Clave: Taekwondo, Táctica, combate

The following research aims at identifying the differences between cyberterrorism and hacktivism. In traditional media, both terms have been used as synonymous. Furthermore, in academia there is still no consensus upon the definition of both of these terms. As a result, there is still an unclear understanding of both phenomenona.

Through concept analysis, the study discusses different definitions and approaches to both ideas. Authors of the conceptualisation range from civil society, academics and formal institutions. After identifying the key components of hacktivism and cyberterrorism, through a qualitative case study, three different net disruption cases are studied. The cases selected are: the digital Zapatistas and FloodNet, Ferizi’s hacking trial and Operation Payback and Avenge Assange. All of the cases were selected due to their notoriety, impact and importance in the field.

Thus, this study seeks to contribute to the current literature and discussion about net disruption, through a critical point of view.

(Trinity College Dublin Thesis for  M.Sc. Computer Science - Interactive Digital Media Thesis. Grade:  1.1, British grading system)

ENGLISH:

"Resulting from the convergence between media, technology, art and politics, tactical media are a set of cultural practices and a theoretical movement which started in Europe during the first half of the 90s, having spread to North America until the end of the millenium and, afterwards, to the rest of the world. Initially taking advantage of video camcorders but also, later, of digital technologies such as CD-ROMs and the Internet, the producer of this kind of media acknowledges himself as as a hybrid, performing simultaneously the role of an artist, activist, theorist and technician.These subversive and/or creative uses of information and communication technologies by individuals who normally don't have access to them are characterized by experimentalism, ephemerality, flexibility, irony and amateurship. Based on the distinction between tactics and strategies developed by Michel de Certeau and continued by David Garcia and Geert Lovink, this dissertation examines the way tactical media present themselves as "media of crisis, critique and opposition". By applying a theoretical analysis of some collectives, we intend to demonstrate that the protest tactics of these media production forms represent a position of permanent struggle against a concrete and explicit opponent (nation-state, supranational institution or transnational corporation).After addressing the dangers that this antagonist model of media as a weapon of resistance can lead to, we propose an alternative perspective of tactical media built on an empirical analysis of two brazilian projects, Metáfora and MetaReciclagem.Finally, we argue that these and other grassroots initiatives adapt the practices of subversion and resistance visible in the activist collectives of developed countries to the local settings of a peripheral country like Brazil. By fostering technological reappropriation for social transformation, these groups unleash the creative and communication capacities of these communities, towards their self-sustainability and autonomy."

PORTUGUESE

"Resultando da convergência entre os media, a tecnologia, a arte e a política, os media tácticos constituem um conjunto de práticas culturais e um movimento teórico surgido na Europa durante a primeira metade da década de 90, difundindo-se até ao final do milénio para a América do Norte e posteriormente para o resto do mundo. Tirando inicialmente partido das câmaras de vídeo mas também, a partir de uma certa altura, das tecnologias digitais como CD-ROMs e a Internet, o produtor deste tipo de media assume-se como um híbrido, desempenhando em simultâneo o papel de artista, activista, teórico e técnico.

Este tipo de utilizações subversivas e/ou criativas das tecnologias de informação e comunicação por indíviduos normalmente excluídos do seu acesso caracteriza-se pelo experimentalismo, a efemerabilidade, a flexibilidade, a ironia, o amadorismo. Partindo da distinção entre tácticas e estratégias estabelecida por Michel de Certeau e retomada por autores como David Garcia e Geert Lovink, esta dissertação examina o modo como os media tácticos se apresentam como “media de crise, crítica e oposição”. Empregando uma análise teórica das práticas de alguns colectivos, pretendemos demonstrar que as tácticas de protesto destas formas de produção mediática representam uma posição de permanente combate contra um adversário concreto e explícito (Estado-nação, instituição supra-nacional ou empresa
transnacional).

Depois de abordarmos os perigos a que este modelo antagonista dos media como arma de resistência induz, propomos uma perspectiva alternativa de media tácticos a partir de uma análise empírica de dois projectos brasileiros, o Metáfora e o MetaReciclagem. Em conclusão, argumentamos que estas e outras iniciativas de base adaptam as práticas de subversão e resistência observáveis nos colectivos activistas dos países desenvolvidos às especificidades de um país periférico como o Brasil. Ao fomentarem a reapropriação da tecnologia para fins de transformação social, estes grupos potenciam as capacidades criativas e comunicativas das comunidades locais, com vista à sua auto-sustentabilidade e autonomia."

RESUMEN El objetivo de este artículo es determinar la relación entre autoconfianza y autoeficacia en deportistas juveniles, género masculino y femenino, con un mínimo de tres años de entrenamiento. La metodología en el estudio descriptivo es correlacionar, dentro de un marco cuantitativo, la muestra intencionada con una cantidad de cincuenta sujetos de 14 a 17 años de edad. Consecuentemente las variables expuestas son evaluadas a través de criterios psicológicos y de carácter autoeficacia táctica. Acorde a la conclusión con los objetivos se verificó la correlación bajo un análisis estadístico en el software SPSS versión 22.0 consecuentemente los resultados son de correlación positiva, es decir, a mayor puntuación positiva de las variables del test psicológico, mejor se comporta la autoeficacia de la acción táctica. Se destaca que este es un atenuante en todas las variables expuestas, sin embargo la variable autoconfianza se movió en contra gradiente, es decir a menor ansiedad mayor autoconfianza, estando en la misma corriente de las demás variables. Los límites de esta investigación son de orden general, pudiendo servir como referencia específica y su metodología extrapolarse, aplicar y utilizar con otros grupos de estudio en el trabajo cuantitativo. La confiabilidad del instrumento es 0.87% por consistencia interna consecuentemente. ABSTRACT The objective of this article is to determine the relationship between self-confidence and self-efficacy in youth categories, male and female gender, with a minimum of three years of training of soccer. The methodology in the descriptive study is to correlate, within a quantitative framework, the intentional sample with an amount of fifty subjects from 14 to 17 years of age. consequently the exposed variables are evaluated through psychological criteria and tactical self-efficacy character. According to the conclusion with the objectives the correlation was verified under statistical analysis with software SPSS version 22.0 consequently the results are positive correlation, that is, the higher, positive score of the psychological test variables, The self-efficacy of the tactical action is better, it is emphasized that this is an attenuator in each and every one of the exposed variables, however the variable self-confidence moved against gradient, that is to say, less anxiety, greater self-confidence, being in the same current of the other variables. The limits of this research are of a general nature, and can serve as a specific reference and its methodology can be extrapolated with other study groups in quantitative work. The reliability of the instrument used is manifested 0.87% by internal consistency accordingly.

Dans leur contribution commune, Sara Alonso Gómez et Julie Martin analysent d’éléments participant à la mise en place d’un régime de « contre-visualité », c’est-à-dire des tactiques employées ou proposées par des artistes afin de contrer les modalités de contrôle ou d’autoritarisme induites par certains médias. Les autrices présentent ces voies alternatives comme un droit à apparaître et à forger d’autres représentations, dans une perspective politique, au sein de régimes hégémoniques de visualité.

Virology enters this 1984 text written just as I was discovering Derrida's ideas (in English), so please pardon the datedness of this, but I start off with a startling and prescient quote by biologist Lewis Thomas: "the viruses, instead of being single-minded agents of disease and death, now begin to look more like mobile genes. We live in a dancing matrix of viruses; they dart, rather like bees, from organism to organism, from plant to insect to mammal to me and back again, and into the sea, tugging along pieces of this genome, strings of genes from that, transplanting grafts of DNA, passing around heredity as though at a great party."

The past twenty years have seen a new generation of artists working together in small groups and large collectives to explore new avenues of art, design, performance, and communication. With in-depth interviews and a rich array of imagery, Come Together explores the processes and motivations behind forty of the most distinctive of these groups. From large, globe-spanning collectives to highly-focused duos, each collective is not just creating distinctive work but also influencing wider aspects of our culture, from music and political protest to fashion and food, ushering in a new way of thinking about what it means to create, conceive, and make art together.

Artists featured:
AAS, Abäke, Andrea Crews, Assume Vivid Astro Focus, Center for Tactical Magic, Chto Delat, Club Real, DAS INSTITUT, Dearraindrop, DIS, Discoteca Flaming Star, Etcétera..., Eva and Franco Mattes, Fallen Fruit, Friends With You, hobbypopMUSEUM, The Icelandic Love Corporation, Improv Everywhere, Instant Coffee, LuckyPDF, Metahaven, Paper Rad, Project Projects, The Propeller Group, PSJM, Public Movement, R A K E T A, Reactor, Ruangrupa, SIMPARCH, Slanguage, Slavs and Tatars, Société Réaliste, Space Hijackers, SUPERFLEX, Temporary Services, This is a magazine, Tokyo Picnic Club, What, How and for Whom/WHW, The Yes Men.

Resumo
Uma das consequências da aparição da sociedade em rede
foi a transformação estrutural da noção de espaço público
verificada por impacto das redes sociais num ambiente comu-
nicativo caracterizado por uma aceleração significativa das
trocas simbólicas, induzidas pelos meios digitais, nomeada-
mente redes sociais e comunicação móvel. As redes sociais e
as comunicações móveis, ao penetrarem na domesticidade e
reconfigurarem as interações sociais, transformam as noções
de espaço, tempo, interação e participação, gerando questões
dificilmente contornáveis: que públicos se formam das novas
formas de interação entre os privados? Qual é a qualidade do
debate deliberativo em função de um ganho epistémico re-
sultante do exercício da racionalidade deliberativo? Existirá
sequer um tipo ideal de racionalidade deliberativa em face da
erupção das novas multidões? Que efeitos na comunicação
pública são suscetíveis de serem identificados nos novos mo-
vimentos sociais. Qual o significado do diálogo público nas
novas condições de interação geradas por novos dispositivos
e plataformas? De que forma as trocas simbólicas na rede
expressam na sua materialidade a reconfiguração das estru-
turas do espaço público e da ação política?
Palavras-chave: Netativismo; Esfera pública; Movimentos
Sociais; Europa

Gözetim, yaygın teknolojiler ile ona baŞlı olarak gelişen konumsal medya ve giyilebilir teknolojilerle, doğrudan nesneye, mekâna ve bedene nüfuz etme yeteneŞi kazanmıştır. Yaygın teknolojiler, mekânda daŞınık bir biçimde bulunan, arayüzü olmadığı için görünmeyen, kablosuz ağlarla birbiri arasında iletişim kurabilen, çevreye gömülü sensörlerle anlık veri toplayan teknolojilerdir. Konumsal medya ise fiziksel mekân ile dijital enformasyonu bir araya getirerek mekâna " hibrit " bir nitelik kazandırırken, kontrol edilebilir " enformasyonel alanlar " yaratmaktadır. Giyilebilir teknolojiler ya da biyolojik gözetim uygulamalarıyla bedenler hesaplanabilmektedir. Gözetim böylece gündelik yaşam pratiklerine daha önce hiç olmadıŞı kadar işlemektedir. Gözetimin derinleştiŞi bu atmosferin diğer bir özelliŞi söz konusu teknolojilerle, aynı zamanda gözetime direniş umudunun doŞmasıdır. Mann'ın " karşı gözetim " kavramı sıradan insanın onu gözetleyen iktidarı gözetlemesini ifade ederken, " refleksyonizm " iktidarın aracını kullanarak iktidara mesaj verme, bir nevi ayna tutma yöntemidir. Eleştirmek ve anlam bozumuna uğratmak için medyanın taktiksel kullanımını ifade eden " taktiksel medya " ya da " yaratıcı yanlış kullanım " , gözetime direniş olarak konumsal ve bedensel teknolojilerin eŞilip bükülmesini içeren örneklerle çeşitlenmektedir. şktidarın gözetim teknolojilerini kullanırken hedeflediŞinin dışında alternatif biçimler yaratmak henüz küçük boyutlarda da olsa kullanıcının elindedir ve artık gözetimsiz bir dünya ihtimalinin olmadıŞı yerde, sıradan kullanıcın bile gözetime direnebilme ihtimali önem arz etmektedir. Bu çalışmada, yaygın teknolojiler, konumsal medya ve biyometri, gözetim çerçevesinde deŞerlendirilmiş; sonrasında söz konusu teknolojilerin refleksyonizm, taktiksel medya ve yaratıcı yanlış kullanım ekseninde gözetime direniş olanakları tartışılmıştır.

Exhibition brochure from FACT Liverpool. An exhibition of contemporary work at the intersection of art, science, philosophy and social culture.

Skin represents a place where art, science, biopolitics, philosophy and social culture inter-face. sk-interfaces presents the work of 17 international artists reflecting on the way current technologies are changing our lives, with an emphasis on the transformation process itself. The artworks in sk-interfaces deal with the concept of liminality - a period of transition between two states of being - and the fluctuating ‘in-betweeness’ of our current socio-cultural climate. Curator Jens Hauser has devised an exhibition in which skin becomes a symbol: skin is the largest organ in the human body making up 16% of our body weight; it is a semi-permeable membrane demarcating the outside world from the internal spaces of the body. As technology becomes more sophisticated, so our notion of what is organic or ‘natural’ and what is man-made becomes blurred. In this exhibition the idea of an interface - the point of connection, the place in between one thing and another - is challenged.

Contemporary interventionist public art is not a monumental memory-landscape, nor a self-fulfilling non-site, but it participates in the production of space, as its conceptualization takes place through the community. In the current paper I will explore the role of location in the debate surrounding artistic intervention. Michel de Certeau's concept of tactics will be used as the theoretical framework for the analysis while expanding his ideas using spatial theories from Henri Lefebvre and Juri Lotman. Through case studies and theoretical discussion, I am going to propose three theses describing the combined effect of interventionist public art and the place of intervention.

Considerada a voz do movimento por uma globalização alternativa, a rede informativa Indymedia (Centro de Media Independente – CMI) surgiu em Novembro de 1999 durante os protestos contra a reunião da Organização Mundial do Comércio em Seattle. Desde então, esta rede cresceu exponencialmente, possuindo actualmente cerca de 150 centros autónomos espalhados pelos cinco continentes e abarcando mais de 20 idiomas, incluindo o português.

Este artigo baseia-se num estudo de caso do CMI-Portugal desenvolvido com base numa análise da lista de correio electrónico e do site deste colectivo. Com este estudo, tentámos averiguar se o CMI-Portugal pode ser considerado um medium táctico a partir dos traços identificados por David Garcia, Geert Lovink, Critical Art Ensemble e Graham Meikle: efemeralidade, valorização das práticas amadoras, rejeição dos dogmas ideológicos, afirmação das identidades, utilização de qualquer tipo de tecnologia que esteja disponível, descentralização e estrutura horizontal. Outros objectivos consistiram em evidenciar a forma como a política editorial do colectivo é posta em prática, como decorre o processo de tomada de decisões e qual a reacção dos leitores/autores.

In the third Chapter Sharing Space Sonically in an Extremophile Age I discuss selected examples of media practices and work by tactical media artists, including my own unrelated related series. This discussion includes the audio/video installation My City is a Hungry Ghost, the video project Nature in the Dark, and the sound installation planet ocean. I am interested here in media arts practices that combine technology and sensory perception, in order to extend, refine or simply shift human sensory perception. I analyse these examples according to the sense of situated awareness that they create. By doing this, I aim to support my argument for the vital contribution that a situated awareness offers to the discussion of a poetics of responsibility from a media arts perspective. Such an awareness is created through the artistic and tactical employment of the “new sensitivities” (Latour 2013). In Chapter 3 I also explore media arts practice that draws its surrounding as a dynamic and evolving environment, which is something in which to actively engage with and intervene. Here, both artistic practice and creative research help to locate the situated awareness of these “new sensitivities”, in a context that is experiential and publicly accessible, while simultaneously renegotiating the defining boundaries of such a context. The wider quest for a poetics of responsibility, as with the tactical employment of “new sensitivities,” becomes a political act. This forms Rancièrian tactical “communities of sense”, with the potential to transform into a tool for a politics that does not yet exist.

Chapter 3 traverses the vast distance of sound and radio waves from the extreme environment of outer space to the depths of the oceans and cross species boundaries. It does this through discussing sonic and radio related media practices, beginning with the early 20th Century radio amateur movement, interspecies communication research and the work of tactical media artists including Natalie Jeremijenko and Marko Peljhan. Given that sound represents only a small biologically mediated fraction of all physical vibrations of the “vibrating world” (Sterne 2003, p. 11), the role of media technology has been instrumental in exploring and gaining direct experience of the range of inaccessible places previously described. It is the psychedelic space inside the head and our own oscillation between the “the inner and outer worlds that we inhabit” (Brüggemeier 2013) that can be considered as extremophile.