Dictionary of Operations is the third in a series of new lexica. After defining the field of "Tactical Reality" (2002) and "Strategic Reality" (2009), this concise manual to the contemporary cognitive environment analyzes 72 terms to access the operative logics of social and anti- social media.
Dictionary of Operations highlights the subtext of the politics of information and the underlying framework of media reality in digital networks. Global conflicts over resources accelerate the social crises of mediated representation. Cognitive algorithms question the autonomy of the individual and its freedom of action. Looking into the intimate relation between knowledge and control it identifies the financial crisis as a crisis of rationality and claims "Economy as fate is the swindle of the century".
Dictionary of Operations focuses on the subjective dimension of information technology related to potential political action. The text follows ancient connections between conjuring and the dark art of truth projection and asks: If every communication is an oracle, who owns meaning which authorizes legitimate knowledge?
Dictionary of Operations reflects illusory mirror worlds and excavates media-archaeological ghost stories that continue to haunt the world. Tracing the omnipresent trails of monsters, zombies and ghosts in the infosphere it declares "To be human is to be haunted, bound in chains to a past dominating the present."
Dictionary of Operations defines transversal practices between theory and activism, digital media and street culture. It covers terms ranging from A-T, from "Absolute Mammon" to "Truth Production". Drawing on anomalies as allies against enforced normalization it builds on an insight from an ancient Babylonian text: "one cannot escape misery without revolting against the established powers."
Konrad Becker is an interdisciplinary communication researcher, director of the Institute for New Culture Technologies/ t0, and World-Information Institute (World-Information.Org), a cultural intelligence provider. Co-founder and chairman of Public Netbase (1994 - 2006), he has been active in electronic media as an artist, author, composer as well as curator, producer and organizer. Since 1979, numerous electronic intermedia productions, exhibitions, conferences and event designs for international festivals and cultural institutions as well as a range of interventions in public space. Publication of media works, electronic audiovisuals, theoretical texts and books, lectures at various universities and participation in numerous conferences and symposia. in September 2009 he participated in a roundtable conference at the Austrian Cultural Forum New York.
His work has been acknowledged with several awards and has been characterized by extensive cooperation with many protagonists of a new artistic practice. The field of work and artistic production includes all areas of electronic art and culture, from audio, video, TV and radio, multimedia productions and installations, software and VR to social interventions. The author and writer of texts on the politics of the infosphere investigates the cultural and social implications of technology in information societies. A particular emphasis is placed on the investigation of interrelations of the symbolic and the real, immaterial information regimes and tangible reality. Publikations include more than thirty film and video productions from experimental art videos to documentaries screened in galleries, museums, festivals and media installations as well as TV broadcast. An actor in various TV and cinema productions he has lectured and performed in more than 25 countries. His work was featured in several hundred publications including major international newspapers and magazines with more than 3500 print articles, reviews and interviews. A founding member of "European Cultural Backbone" (ECB) and various cultural networks he contributed to local and international cooperation of artists and cultural workers in the field of information and communication technologies. He was member of various boards on information technologies and culture and consultant for public administration.
Konrad Becker also created Monoton in 1979, the crucial Austrian electronic music act, providers of distinguished electronic soundscapes and psycho-acoustics. The Wire magazine ranked Monoton’s 1982 record Monotonprodukt07 among the 100 most important records of the 20th century.
“Finally we have a volume that collects the many essays that over a period of four decades Silvia Federici has written on the question of social reproduction and women’s struggles on this terrain. While providing a powerful history of the changes in the organization of reproductive labor, Revolution at Point Zero documents the development of Federici’s thought on some of the most important questions of our time: globalization, gender relations, the construction of new commons.”
—Mariarosa Dalla Costa, coauthor of The Power of Women and the Subversion of the Community and Our Mother Ocean
“As the academy colonizes and tames women’s studies, Silvia Federici speaks the experience of a generation of women for whom politics was raw, passionately lived, often in the shadow of an uncritical Marxism. She spells out the subtle violence of housework and sexual servicing, the futility of equating waged work with emancipation, and the ongoing invisibility of women’s reproductive labors. Under neoliberal globalization women’s exploitation intensifies—in land enclosures, in forced migration, in the crisis of elder care. With ecofeminist thinkers and activists, Federici argues that protecting the means of subsistence now becomes the key terrain of struggle, and she calls on women North and South to join hands in building new commons.”
—Ariel Salleh, author of Ecofeminism as Politics: Nature, Marx, and the Postmodern
“The zero point of revolution is where new social relations first burst forth, from which countless waves ripple outward into other domains. For over thirty years, Silvia Federici has fiercely argued that this zero point cannot have any other location but the sphere of reproduction. It is here that we encounter the most promising battlefield between an outside to capital and a capital that cannot abide by any outsides. This timely collection of her essays reminds us that the shape and form of any revolution are decided in the daily realities and social construction of sex, care, food, love, and health. Women inhabit this zero point neither by choice nor by nature, but simply because they carry the burden of reproduction in a disproportionate manner. Their struggle to take control of this labor is everybody’s struggle, just as capital’s commodification of their demands is everybody’s commodification.”
—Massimo De Angelis, author of The Beginning of History: Values, Struggles, and Global Capital
“In her unfailing generosity of mind, Silvia Federici has offered us yet another brilliant and groundbreaking reflection on how capitalism naturalizes the exploitation of every aspect of women’s productive and reproductive life. Federici theorizes convincingly that, whether in the domestic or public sphere, capital normalizes women’s labor as ‘housework’ worthy of no economic compensation or social recognition. Such economic and social normalization of capitalist exploitation of women underlies the gender-based violence produced by the neoliberal wars that are ravaging communities around the world, especially in Africa. The intent of such wars is to keep women off the communal lands they care for, while transforming them into refugees in nation-states weakened by the negative effects of neoliberalism. Silvia Federici’s call for ecofeminists’ return to the Commons against Capital is compelling. Revolution at Point Zero is a timely release and a must read for scholars and activists concerned with the condition of women around the world.”
—Ousseina D. Alidou, Committee for Academic Freedom in Africa (CAFA), Director of the Center for African Studies at Rutgers University and author of Engaging Modernity: Muslim Women and the Politics of Agency in Postcolonial Niger
“An enthusiastic and interesting excursion into the psychedelic fringes of hasidic culture.” — Alan Moore, author, V for Vendetta, Watchmen
“Here’s this emerging genius dude who has a big and growing following in real life and online — this guy who makes Judaism new and real again,who digs deep into the Chassidic tradition for its deeply stoned truths. A Jewish Terence McKenna, mining the Torah’s hidden landscape…” — Douglas Rushkoff, media theorist
“Yoseph Leib is the rebbe on this subject. Who else?” — J.H. Chajes, Professor of Jewish mysticism, Haifa University
“As Flannery O’Connor beckons us into the restless, gothic American
south, and A.M. Homes backs us into bizarre and frightening corners
of our suburbia, Chavisa Woods guides us through a strange, troubling
vision of domestic life in the rural U.S.” — Go Magazine
“From the sweet smell of trumpet flowers to the touch that can
kill, Woods’ work is honest, clear-headed and hard-hitting.”
— Steve Dalachinsky
“A thoughtful and philosophical read. Highly recommended.”
— The Pedestal Magazine
“Most gripping are stories that, like real dreams, institute close
connections between reality and fantasy.” — The Brooklyn Rail
“Woods is writer who watches, waits, and thinks for herself, bringing
us close to the infernal life of the Americanly Ignorant and the
articulate seer who lurks among them.” — Jennifer Blowdryer
“The stories in this book are strong as a punch with endings that
hit as hard as a full beer can to the head.” — Katharine Arnoldi