Notes for a New Manifesto

horkheimer and adorno

“We cannot call for the defence of the Western world.”

In 1956, Theodor Adorno and Max Horkheimer sat down to write an updated version of the Communist Manifesto. These are previously unpublished notes from their discussions. Click to view…


Creative workshops/venue… let’s do this!

Following Eduardo’s comment and my own intervention during Friday’s seminar, I do think we can allow ourselves to be realistically ambitious (well said Eduardo).

As a media studies group, making creative meetings would not only help us to achieve our scholar objectives, but they could also end up creating great collaborations in the future. Who knows, meeting outside the course context might give some of us the inspiration to work together on a professional level after our master degree.

So here are a couple of ideas of what we could collectively do to “harvest our creativity” :

  • Share practical skills (For example, I would be more than happy to share with you how we make brainstorms in the advertising industry. Why shouldn’t we learn how to do this if it could be useful for our own thesis or research-creation? Let’s make some capitalist-methods jujitsu!). I’m sure that other people also have crazy skills we are unaware of.
  • Discussion around specific cultural issues and brainstorms to find actual ways to intervene
  • Research-creation oriented discussions (Maybe the research-creation folks will have common issues they want to share)
  • Share inspirations of all kinds (film, music, web etc.)
  • Take time to show/perform our own personal creations
  • Make all of this as much informal as possible. The idea is not to add an additional course-related time to our already busy schedule, but

Of course, all of this is open to discussion, but I do think we’re onto something with this possibility of making this creative workshop/venue/meeting/sharing come true.

Let’s do this!




eRuv: A Street History in Semacode

eRuv is a digital graffiti project installed along the route of the former Third Avenue elevated train line in lower Manhattan. The train line, dismantled in 1955, was more than just a means of transport; it was part of an important religious boundary – an eruv – for a Hasidic community on the old Lower East Side. Using semacodes, the former boundary is reconstructed and mapped back onto the space of the city, and pedestrians with camera phones can access location-specific historical content. 

– Elliot Malkin,

Vinyl Video

Fake Media Archeology by Gebhard Sengmüller

In its combination of analog and digital elements VinylVideo™ is a relic of fake media archeology. At the same time, VinylVideo™ is a vision of new live video mixing possibilities. By simply placing the tone arm at different points on the record, VinylVideo™ makes possible a random access manipulation of the time axis. With the extremely reduced picture and sound quality, a new mode of audio-visual perception evolves. In this way, VinylVideo™ reconstructs a home movie medium as a missing link in the history of recorded moving images while simultaneously encompassing contemporary forms of DJ-ing and VJ-ing.

Gebhard Sengmüller is an artist working in the field of media technology, currently based in Vienna, Austria. Since 1992, he has been developing projects and installations focussing on the history of electronic media; creating alternative ordering systems for media content; and constructing autogenerative networks.

Landscape Futures Super-Workshop

La Petite Bibliothèque Infernale

The word Inferno or Enfer defines a closed part of the French National Library, a place where forbidden litterature was hidden. The whole idea of a dark side lib containing anticonformist content seemed like a nice way of labelling a collection of books, ephemera, leaflets, posters, stickers, etc. that aims at exploring, sometimes, the other side of a vast territoire concerned with book design and editorial design.

Pseudoarchaeology at the Art Gallery of Ontario

“He named her Amber” spans the space between fiction and nonfiction. Where there is an initial construct of reality, it must be followed by revealing the fictitious aspects of the project. The passage between these two realms, between the historic narrative and the context of a contemporary artwork is an important part of the work.

– Iris Häussler, Toronto, 2010

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