The GHI of Tactical Media
Article Sidebar
Google Scholar citations
Main Article Content
Tactical media are the field being worked by artists adopting a positive attitude towards contemporary digital technology, in a critical, innovative spirit. Media artists reveal a preoccupation with aesthetics as a concept, not with a particular style. This trend is part of the creation of a new language for the communications network era, a user language which is successful as art because it transmits an effective activism. Media activists are a hybrid of artist, scientist, theoretician and political activist that shuns labels and categorizations. Their creations are characterised by integration of user and machine in the work itself, so that interactivity has an important place within it. The concept of tactical media allows Art with a capital and grassroots political activism to be combined and, in this sense, we could include in it the tactical struggle that is part of anti-globalisation movements. Media activists point to the power of tactics as a means of breaking down the barriers between mainstream values and alternative ones, between professionals and amateurs and even between people who are creative and those that are not.
Article Details
Copyright
For all articles published in Artnodes that are subject to a Creative Commons Attribution 4.0 International licence, copyright is retained by the author(s). The complete text the license can be consulted at http://creativecommons.org/licenses/by/4.0/. You may copy, distribute, transmit and adapt the work, provided you attribute it (authorship, journal name, publisher) in the manner specified by the author(s) or licensor(s).
Authors are responsible for obtaining the necessary licences for the images that are subject to copyright.
Assignment of intellectual property rights
The author non exclusively transfers the rights to use (reproduce, distribute, publicly broadcast or transform) and market the work, in full or part, to the journal’s editors in all present and future formats and modalities, in all languages, for the lifetime of the work and worldwide.
I hereby declare that I am the original author of the work. The editors shall thus not be held responsible for any obligation or legal action that may derive from the work submitted in terms of violation of third parties’ rights, whether intellectual property, trade secret or any other right.
Most read articles by the same author(s)
- Andreas Broeckmann, Is software art a genuine artistic material? , Artnodes: No. 2 (2003): NODE 2. Art and New Media
- Geert Lovink, Florian Schneider, A Virtual World is Possible. From Tactical Media to Digital Multitudes , Artnodes: No. 3 (2004): NODE 3. Heterotipies
- Andreas Broeckmann, Code and software repercussions on our daily life , Artnodes: No. 5: (September 2006). NODE 5. Interviews (Editors: Pau Alsina, Pau Waelder)
Similar Articles
- Ze Gao, Tristan Camille Braud, Varvara Guljajeva, VR-driven museum opportunities: digitized archives in the age of the metaverse , Artnodes: No. 32: (July 2023). NODE 32. Possibles III (Editors: Pau Alsina & Andrés Burbano)
- Paloma González Díaz, Digital creation: possible (and achievable) futures , Artnodes: No. 28: (July 2021). NODE 28. In the limits of what is possible: art, science and technology (Guest Editors: Paloma Díaz, Andrea García)
- Nuria Rodríguez-Ortega, Five central concepts to think of Digital Humanities as a new digital humanism project , Artnodes: No. 22: (November 2018). NODE 22. Digital Humanities: societies, policies, knowledge (Editor: Nuria Rodríguez-Ortega)
- Domingo Sánchez-Mesa Martínez, Jordi Alberich, Nieves Rosendo, Introduction: Transmedia narratives , Artnodes: No. 18: (November 2016). NODE 18. Transmedia narratives (Editor: Pau Alsina)
- Lev Manovich, Avant-garde as Software , Artnodes: No. 2 (2003): NODE 2. Art and New Media
- Raquel Caerols Mateo, Beatriz Escribano, Medialab Madrid 2002-2006. Participatory culture and social activism in Madrid , Artnodes: No. 24: (July 2019). NODE 24. After post-truth (Editor.: Jorge Luis Marzo)
- José Luis Reyes-Criado, Situated formats around the science-art-technology debate: an introduction to European Digital Arts Festivals (DAF) , Artnodes: No. 32: (July 2023). NODE 32. Possibles III (Editors: Pau Alsina & Andrés Burbano)
- Salomé Cuesta Valera, Paula Fernández Valdés, Salvador Muñoz Viñas, NFT and digital art: new possibilities for the consumption, dissemination and preservation of contemporary works of art , Artnodes: No. 28: (July 2021). NODE 28. In the limits of what is possible: art, science and technology (Guest Editors: Paloma Díaz, Andrea García)
- Marina Pastor, Moises Mañas, Media-apocalypse. Dissection, regeneration, and repair: agents for the development of technocratic-ludic zombie systems , Artnodes: No. 21: (June 2018). NODE 21. Media Archaeology (Editors: Pau Alsina, Ana Rodríguez, Vanina Hofman)
- José Ramón Alcalá Mellado, Digital narratives at the International Museum of Electrography of Cuenca. A case study: Sotos, an interactive multimedia creation from Fred Adam , Artnodes: No. 20: (December 2017). NODE 20. Art and Research (Editors: Pau Alsina, Ana Rodríguez, Irma Vilà Òdena)
You may also start an advanced similarity search for this article.