INFOCALYPSE
writings on the edges of time
Chi sono
L'era in cui viviamo
Bottoni
Città e cinema di documentazione sociale. Il caso Roma
Università di Roma “La Sapienza”
Mercoledì 7 marzo presso la facoltà di
Ingegneria, Dipartimento di Architettura e Urbanistica per l’Ingegneria, aula
del Chiostro, via Eudossiana 18
SEMINARIO
Città e cinema di documentazione sociale. Il caso Roma
ore 9.00
Coordina Eugenio Sonnino
Eugenio Sonnino (Direttore del CISR), Presentazione
Paolo Colarossi (Direttore del DAU), Una città da abitare
Roberto De Angelis, Nuove tecnologie e percorsi di etnografia urbana
Ugo Gregoretti, Dal
neo-realismo al documentario sociale
Antonio Medici, Citylights
del cinema del reale
Giulia Fanara, Strade
che non portano da nessuna parte: Pasolini e la metropoli del dopo-storia
Ansano Giannarelli, Mutazione degli
archivi audiovisivi
Laura Romano, Festival
e produzione indipendente
Proiezione
di frammenti di Dentro Roma di Ugo Gregoretti e di un montato realizzato da
alcuni documentari presentati alla rassegna Iperurbs
ore 15
Coordina Roberto De Angelis
Francesco Maselli, Il documentario collettivo
Loredana Dordi, Vite di strada
Daniele Vicari, Documentare i luoghi
Romolo Ottaviani (Spacesperience-Stalker), Il gesto urbano
Enzo Scandurra, Giovanni Attili, L’audiovisivo come catalizzatore
di interazione urbana
Fabio Caramaschi, Identità e autorappresentazione nel
documentario sociale
Agnese Trocchi (Candida tv), Reality Hacking: Candida Roma
Fluid Video Crew, Visioni fluide
Il
seminario si svolgerà a conclusione di una serie di iniziative promosse dal
Centro di Ricerca su Roma e dal gruppo di ricerca “Exploring Metropolis” in
collaborazione con gli archivi audiovisivi istituzionali più importanti (Teche
Rai, Istituto Luce, centro Sperimentale di Cinematografia, Archivio audiovisivo
del movimento operaio e democratico ecc.) e molti autori e ricercatori della
nuova produzione indipendente, scaturita soprattutto dalla rivoluzione
elettronica nei sistemi di ripresa e montaggio degli ultimi venti anni. In
particolare nel maggio 2005 nell’aula magna del Rettorato è stata organizzata
una rassegna di 80 documentari: Iperurbs-Roma. Visioni di Conflitto e di Mutamenti
Urbani. I film sono stati divisi in 10 sezioni (la città legale; la
metropoli diffusa; la città del cinema; memento urbis; identità transnazionali;
culture del conflitto; movimenti e lotte urbane; la città disciplinata; forme
di vita) introdotti dagli autori e discussi con cineasti ricercatori sociali,
storici del cinema e studenti. Nel volume curato da Roberto De Angelis, Iperurbs-Roma.
Visioni di conflitto e di mutamenti urbani, DeriveApprodi, sono
raccolti molti degli interventi fatti nella rassegna.
Netarts 2006 Grand Prize @ Machida Museum, Tokyo
Cyberfem, feminismo en el scenario electronico
Dal 20 ottobre al 21 gennaio 2007 nell'Espai d'Art Contemporani, Castello, Spagna
Cyberfem, feminismo en el scenario electronico
Transmission
www.transmission.cc
UserLand
OpenMute - FLOSS culture workshop tour
14th & 15th March - The Cube Cinema, Bristol -
w/ Agnese Trocchi, Candida TV
Dove Street South, Bristol BS2 8JB
Free Labour Or Social Sculpture?
Media Mutandis: a NODE.London Reader
Media Mutandis: a NODE.London Reader
edited by Marina Vishmidt,
with Mary Anne Francis, Jo Walsh and Lewis Sykes
surveying art, technologies and politics
ISBN 0-9552435-0-5
Published 08 March 2006
Publication description:
The NODE.London Reader projects a critical context around the Season of Media Arts in London March 2006 and provides another discursive dimension to the events of October 2005's Open Season. It engages debates in FLOSS (Free/Libre and Open Source Software), media arts and activism, collaborative practices and the political economy of cultural production in the present day. It includes essays and artist projects from Sabeth Buchmann, Toni Prug, Armin Medosch, Simon Yuill, Chad McCail, Critical Art Ensemble, Jo Walsh, Richard Barbrook, Michael Corris, Harwood, Kate Rich, Agnese Trocchi, Matthew Fuller, Rasmus Fleischer and Palle Torsson, Brett Neilson and Ned Rossiter, Matteo Pasquinelli and Francis McKee.
publication.nodel.org
Agnese's paper:
publication.nodel.org/The-Candida-TV-Approach
Constant Capture: Visibility, Civil Liberties, and Global Security
Coming soon!
CIE Annual Conference 2006: Constant Capture: Visibility, Civil Liberties, and Global Security, April 21-22, 2006
University of Wisconsin
www.uwm.edu/Dept/CIE/AP/Constant_Capture/
CIE Annual Conferences focus on different Global Studies themes related to UWM's international curriculum development. Participants consider the causes and effects of globalization from diverse disciplinary perspectives. The proceedings of these conferences have been published in the New Directions in International Studies series of Rutgers University Press.
The next medium
Wilhelm Dilthey (German historian, psychologist, sociologist, http://en.wikipedia.org/wiki/Wilhelm_Dilthey)
The concept of “streaming” is strictly interrelated with the concept of "networking” and Internet.
Streaming technology allows data (audio, video or other contents), to be transferred in a stream of packets (smaller parts) that are interpreted as they arrive for "just-in-time" delivery of multimedia information.
Streaming can be used:
- As a broadcasting media (IPTV)
- As a connecting media
- As a tactical media
-Broadcasting media Internet Protocol Television (IPTV)
freedom of choice - contents, time www.coolstreaming.it/
IPTV have become a common denominator for systems where television and/or video signals are distributed to subscribers or viewers using a broadband connection over Internet Protocol. This enables stream control (pause, wind/rewind etc.) and a free selection of programming much like its narrowband cousin, the web.
Protocols using peer-to-peer technology to distribute live TV are just starting to emerge. Their primary advantage over traditional distribution models is that they provide a way of sharing data delivery workloads across connected client systems as well as over the distributor's own server infrastructure, which drastically decreases the operational costs for a stream provider.
These technologies are mostly utilized to watch international sports channels and bypass the pay-per-view satellite programs.
The scene is doomed by Chinese software as cooledit or PPlive as European software are still legally persecuted (Cyber TV).
These clients software are intuitive and easy to install (the only limit is the Chinese language but online is full of how-to in English) and they immediately deliver to you a huge amount of Asian TV channels: you can plug your own stream too and virtually “make your own TV”.
As any competent observer may notice this streaming P2P TVs freed the viewer from the time – contents obligations: the viewer is now free to watch every content in every moment, he is no more caged by the broadcasters, caged in his/her own TV culture
But this is just a speculation.
The interesting paradox is that we go to china (we download Chinese software that stream Asiatic TV channels) to watch our own culture (football matches) and be reconfirmed of our reality. As Vattimo has been writing at the end of the eighties we face now the spread of multiple points of emissions and multiple channels of transmission, this is the main feature of the new so-called Transparent Society, where trough the encounter of multiple perspective on the world the viewer experiences the SPAESAMENTO and the loss of identity.
Now, 20 years after, we can say that the trend is the opposite:
we love to use this multiple perspective to reconfirm our identities (watching sports and football match).
In this model we have the repetition of the world of television, you sit and you watch some content that is delivered to you. Your eye is paralyzed in front of the monitor, you are not watching it, the monitor is watching you, and you are not motivated to send a streaming yourselves
If visionaries of the internet see in the development of p2p streaming software a chances for everyone to gain the freedom to choose what to watch and when to watch, actually this freedom will not be gained just thanks to software. Human effort is needed
Let’s see examples of creation of community based on different agendas than the consensus ones.
-Connecting media (Skinstream, highnoon)
www.jelliedeel.org/skintstream
Skintstream a Mongrel and RQ project moves from the observation that: “…the expectation in traditional institutional frameworks is still for passive consumption, as the possibilities for acting effectively together become increasingly small. However, the question of the audience is critical to any understanding of culture. The relation of the audience to the work, to institutions, and to each other, remembering that the audience is also ourselves, brings with it questions of social awareness and of democracy. SkintStream is a network which will connect audiences and cultural spaces previously separated by economic, geographic and political factors. The use of streaming technology over existing infrastructure allows us to start a conversation between spaces separated by different types of distance. Passing the mic around will allow us to reflect on the cultural space each sound is coming from? And will ask questions like: is geographic isolation a factor in cultural expression? What does it mean to be culturally remote in an electronically networked world? Can we still think of ourselves as being in margins or centres when digital technologies allow us to bridge distances and make our own connections? Can live, technologically mediated experience ever substitute for face-to-face communication?
Connecting shattered nodes of the Global Village following trajectories of desire and engaging creative forces has been the aim of another streaming experiment:
excerpt from the : High Noon Call hubproject.org/archives/display_by_id.php?feature_id=26
”HighNoon is an audiovisual protest over three days that gathers objections against the WSIS in Geneva in order to assert our claims to the so called information society. since we are tired of lamenting, criticizing and reporting from a most likely boring and once again useless global summit to the rest of the world, HighNoon works as an interface that confronts and exposes the rhetoric of the WSIS by the variety of contributions and interventions uploaded by media activists and artists from around the globe.”
-Tactical media
(geneva03 switzerland.indymedia.org/itmix/2003/06/11705.shtml+radiogap+telestreets)
We have different experiences of media activist using the streaming technologies to deliver real time uncensored information on the fact happening during wide demonstrations such us the antig8 (Genoa 2001: Radiogap the network of independent on air radio using online streaming to share information as a national network and Geneva 2003 a week of continuous audio video streaming where everyone had access to the console to plug and play their own recording and narrate their own stories. The streaming has be taken by independent pirate street TV and rebroadcast on terrestrial frequency giving birth to a convergence which allows those narrations to reach an audience which is not digitalized and which is the large TV audience.
This model has been utilized several times by the Telestreets network with the support of the distribution archive www.ngvision.org
As mainstream media are hierarchical and centralized, mediactivist are decentralized and horizontal. A bottom-up communication of information bypass the control of power, give visibility to different perspective on reality, unveil the totalitarian narration of the world.
Streaming media are an access to multiple worlds, they may show us the relativity of the TVSET in which we are caged if we want to see it and with McLuhan’s words we want to say that:
“The next medium, whatever it is- it may be the extension of consciousness- will include television as it's content, not as it's environment, and will transform television into an art form. “
Roma 14.09.06
Warriors Of Perception
She is now in hiding, deep in the anonymized clouds of Freenet users where she can't be deleted but may disappear if nobody searches for her. You, part of the many-to-many network, can help her to survive! Follow her tracks and keep her alive - you are the creator of this realm of freedom.
Go, go now! Show your desire! Become a warrior of perception!
http://www.kein.org/~frenesi/warriors
out now, published by autonomedia
pages 336
ISBN: 1-57027-149-6
edited by Claudia Reiche and Verena Kuni
design by Janine Sack
In the beginning Cyberfeminism: Next Protocols was a call posted on mailing lists by the old boys network, the first international cyberfeminist alliance. Now Cyberfeminism: Next Protocols is a book that presents an introduction as well as an outlook for the large network of contemporary cyberfeminism. Protocols are both scientific records of observations and coded commands for digital and human procedures of communication. Next protocols reaches boldly into the utopian gap between the now and ist possible futures. If gender is not obsolete, there is a stake in reformulating it under conditions ruled by the dominance of the digital medium and test ist capacities to subvert cultural practices. cyberfeminism carries the fem in its center – fem which hints politically at gender and the female sex, yet exceeds, enjoys, and remodels this relation. With approaches coming from art, theory and activism, cyberfeminism. next protocols invents and documents a cyberfeminism which is dedicated to the wilderness of precisecritique and experimental thinking
Barging into the Collective Body of Images
intervista pubblicata sulla rivista online artefact
Liberare l'immaginario
Intervista su CandidaTV per Portico Donne
Shattered glances from the Italian mediascape
Published in:
CyberArts 2005, International Compendium Prix Ars Electronica,
ISBN 3-7757-1657-2
Shattered glances from the Italian mediascape
It's at home that consensus grows up: family and television are the basic tools to create consensus and social control. If we want to traverse the trajectories of television consumption we have to become the media in the space of communication flux. In the last ten years we have witnessed a process of diffusion regarding communication technology, wider accessibility to media tools, and an increased awareness of one's expressive possibilities. This situation favours the mutation of the consumer into the producer.
The consumer, following her/his own natural instinct towards consuming, develops the expertise to find online the shows of her favourite soap opera or the latest Hollywood movie, and download them easily at home. This increasing experience in sharing facilitates the encounter of users with networks made of independent producers and independent consumers.
NewGlobalVision is the first Italian free access video archive, a visual encyclopaedia organised in contents and authors.
It collects and distributes videos on the Internet using peer-to-peer networks to overcome the bandwidth problems related to the size of video files.
It is a collaborative and open archive in constant development, a reaction to corporate capitalism and its global censorship.
NGV is a basic tool for the network of the Telestreets, the independent TVs network in Italy. Telestreets are (still) pirate TV and transmit with low power kits, which cover few kilometres. Enough to make a difference.
NGV provides the networking structures to the different telestreets, that are scattered all over Italy and have the power to cover with their broadcas only small geographical areas.
Telestreets network is not just a response to Prime minister's monopoly over communication (he is just an agent of global business elites), but it springs from the awareness that TV is a biopolitical weapon.
Telestreets phenomenon is the natural reaction of those who grow up with a television as a baby sitter; those who consider TV as one of the more natural and diffuse means of communication and at the same time are dispossessed of the rights and the tools to communicate.
To self manage a small TV broadcasting means to understand how much it's important for everyone to appropiate her/his time out of the market logic. To make your own television is a way to spend time together, to make new relationship; a small broadcast TV station is a meeting point to carry on common projects and to change our life as we know it.
The creation and filling of a daily palimpsest is actually the most expensive need of independent TV. NGV provides a perfect solution: you can share and download movies, fiction, spots and information from all over the world and broadcast it to the local audience; viceversa everyone can produce locally and distribute globally bypassing the media mainstream.
NGV works as a blood network and as a nervous system that feeds and gives feedback to the whole body.
For example in occasion of events of common interest which are not covered by the mainstream media for political reasons (such as World Wide or local demonstrations), NGV and Telestreets network are able to supply the lack of informations thanks to ad hoc live streamings and to the telestreets capability to reach an audience which is otherways cutted out from digital fluxes of communication.
Telestreets network needs to work at different speed on different levels: the affirmation of independent media autonomous zones is as much important as the infiltration of language viruses in the everyday public flux of consciousness through the practise of subvertaisment.
The creation of new landscapes in the actual media reality is a revolutionary gesture whose goal is to dismantle the status quo of the communication ivory tower; the use of the Internet to share creative resources is a Trojan horse to enter the new mediascapes.
Sharing video online is vital practises.
NGV and Telestreets togheter assemble a powerful dispositive: we need to build a network made up of a multiplicity of open points of emission, capable of changing perceptions and social behaviour around the medium of television.
Awful impossible futures are chasing us, it's a reality show where we are all prisoners and it’s happening just now. To write scripts that we like to play, we need to be a critical mass aware of our power: a small viral signal can multiply itself when communication is no more one-to-many but many-to many.
www.ngvision.org
www.telestreet.it
Mission Transmission
www.metamute.org/en/Mission-Transmission
Close your eyes and imagine being a proud internet user with a DSL connection. Now imagine being a videomaker: you enjoy your handy consumer camera and edit short videos from your laptop. Now imagine being someone who cares about having interesting films and videos to watch: wouldn’t it be nice to be part of a network that gives you the chance to upload your video productions, share your visions and download video and films that you can’t see anywhere else?
The BBC will deliver part of this dream by giving access to their creative archive to all UK citizens who have been paying their bills since the beginning. The corporation is exploring ways to use Peer-to-Peer (P2P) systems to ‘get users to share on our behalf’. P2P systems exploit each user’s surplus bandwidth and transform it into a resource for the community. Meanwhile Transmissionfilm is already using this method to offer downloading services to film retailers.
But maybe in your dream you seek a space to upload as well, and to download moving images for free.
Now open your eyes (and your browser) and type: ‘www.archive.org/movies’, and then ‘www.ngvision.org’, and then ‘www.V2V.cc’. These are the three principle examples of independent media communities whose common aim is to archive and/or distribute high-quality videos (VHS/DVD quality) over the internet.
The pioneer project in the field of archiving and distribution, Archive, states: ‘we want to provide easy access to … films, to encourage widespread use of moving images in new contexts by people who might not have used them before. It’s not only about watching downloaded movies on your desktop but also providing footage suitable for archiving, broadcasting, editing and screenings for wider communities.
Screenings in independent cinemas and squatted centres are organised all over Europe and usually the material circulates on VHS or MiniDV tapes, but it would be much easier to download the material from the internet. This is already practised by the newly-born Telestreet network (independent, pirate street TV stations) in Italy. Mechanisms such as V2V or NewGlobalVision (NGV) facilitate the circulation of content between independent producers and ease the sustainability of initiatives (like Telestreet and other grassroots TV projects). The creation and filling of a daily palimpsest is actually the most expensive requirement of independent TV. The net provides a perfect solution: you can share and download movies, fiction, spots and information from all over the world and broadcast it to the local audience; conversely everyone can produce locally and distribute globally bypassing the media mainstream and creating a new mediascape.
A new mediascape needs new rules on property to allow for such a virtuous exchange of material: Creative Commons proposes a set of licences to distribute or re-use moving image work. Theirs are now the most commonly applied licences within online distribution networks.
The assembly of multiple edits from shared footage using digital exchange was first experimented with on 15 February 2003, the day of the global anti-war march. The Indymedia video network set up a number of FTP servers to collect raw footage uploaded from demonstrations all over the world. The resulting archive was available to all for download, edit and broadcast, as was done by the NY based satellite channel Free Speech TV.
V2V was born in May 2003 as a development of the f15 initiative. It was born to share footage ready not only for screening but also for further editing. The f15 video project was organised over a number of FTP servers accessible for upload and download. But the key problem that needed resolving was the server traffic; V2V thought of addressing this by means of a distributed network and use of peer-to-peer software. V2V defines itself as a network of dedicated servers and diffuse clients whose object is to share and multiply existing bandwidth capacity.
The idea of using P2P networks was already developed by NewGlobalVision back in 2001. NGV was born as an answer to the overwhelming power of mainstream media after the tragic days of the G8 in Genoa. Videos bearing witness to police brutality were made available through the work of the NGV crew and P2P was the Trojan horse used to solve the problem of widespread distribution.
V2V and NGV rely on an architecture of servers: video is uploaded via FTP to a collection server, at the same time the user enters the relevant meta-data using a form on the website; the collector then transports the video and its related meta-data to the different publishing servers connected to P2P networks such as Edonkey or BitTorrent.
BitTorrent balances download ‘horizontally’ by exploiting the unused bandwidth of all the users through the other BitTorrent clients; these clients often become unavailable if a file declines in popularity. This is why Archive prefers to use the FreeCache system. The FreeCache system utilises permanent FreeCaches that don’t go away although particular files get flushed out periodically.
After uploading and updating processes are complete, videos are linked to an RSS/RDF feed. RSS/RDF feeds are XML text files generated by web servers that desktop clients – called RSS Readers – download on a set schedule, usually once an hour. The RSS/RDF feed is a core element because it guarantees the decentralisation of information. There is no longer any need for a central website. Any website can integrate the RSS/RDF feed of each different archive/distributor.
The ongoing experiment between NewGlobalVision and the Oceania Newsreal provides a clear example: the Oceania Newsreal crew sought a way to host and distribute their productions online and encountered NGV who offered them the set of software and the FTP server necessary to upload videos and create the RSS/RDF feed. Oceania Newsreal is now a category in the NGV archive but is also a project in its own right which uses the RSS/RDF from NGV. At the address [http://oceania.indymedia.org/newsreal] you find the NGV meta-data form and after completion the video file is uploaded via anonymous FTP. The same upload process is used by V2V, but to access the V2V upload server you need a username and password. V2V in its current stage has been designed to run on small and medium-sized servers that manage other serious traffic like email and http, so it is not ready to administer an anonymous FTP server.
V2V is intended to work as a clearing house based on the use of open video standards and formats: if the dream of every videomaker is to use a video compression algorithm (codec) within a format which may be used on every operating system (Linux, Windows, Mac) and which is free software, then the Ogg/Theora video container format currently being developed by xiph.org seems the solution closest in the offing. A solution that the developers of V2V are faithfully awaiting.
NewGlobalVision and V2V develop technical solutions and software suites as common goods that can be used by new distribution/archiving initiatives. The IVDN (Indymedia Video Distributing Network) wants to bring the different Indymedia and Alternative-Video Projects together on one site using content syndication. The IVDN project considers itself ‘just’ another node in the network of distributors and its ideas are based on the V2V project.
What the video distributing network is facing is a great need for servers and bandwidth; in addition to these mechanical resources they naturally require administrators with the spare time to install and maintain the necessary softwares. This is a network composed of coders and system administrators but also producers, broadcasters and distributors, working together to re-access the cinematic heritage of other generations, broadcast multiple visions, empower collective storytelling, facilitate the rapid sharing of content, skills and resources, to enable multiple connections between creative nodes and networks. Production and distribution will finally merge into a process of sharing your images with others. ‘Images that everyone can edit, change, forward, rewind and PLAY.’ (V2V manifesto)
SHORT HISTORY OF STREET TVs IN ITALY (1972-2003)
[versione italiana]
San Lorenzo, Rome, near Termini station: a tall antenna towering over the roof of a high squatted building where migrants families are live illegally. Its name is TeleAut and it's a streetTV that is exploiting the umbra of a local channel and is on air everyday from 9pm to 9am on channel uhf 27. The name, TeleAut, is homage to RadioAut, an independent radio which was broadcasting in 1977 from a village near Palermo, Sicily. On the 9th of May 1978, the day when the body of Aldo Moro was founded killed by Red Brigades, another corpse was found, blown-up on the railway between Palermo and Cinisi, it was the corpse of Peppino Impastato, the founder of RadioAut, killed by Mafia.Italian history is made of hidden truths and independent voices which have always struggled to express themselves by every media necessary.
The first streetTV was born in 1972 in Biella, a village in the north of Italy as a "video-magazine" appealing to the art.21 of Italian Constitution, which establishes the right to expression by every means. In 1973 TeleBiella became illegal following a decree of the Minister of Telecommunications, but as art. 21 was not being upheld TeleBiella appealed against the conviction and in 1974 the Constitutional Court decreed the end of the radio-tele monopoly granted to RAI .
It's the starting point of the proliferation of private TV channels, the expansion of advertising on TVs and the creation of Berlusconi's empire.
Italian airwaves becomes a wild-west and Berlusconi seems to be the faster shooter.
In the same twenty years the social texture has changed profoundly: television has become a household tool, children have grown up in a new anthropologic space defined by fluxes of cathodes images, they develop new needs. They cannot hate TV, they want to make it. Video technologies have become consumer goods, videoplayers, amateur cameras and computers, for editing and for sharing on the internet, have changed the perception of the consumer who is no longer passive but she/he's becoming the producer.
This "hackers" attitude of "putting your hands on" emerges when in 1998 in the csoa CPA Florence during the first Hackmeeting , another experiment of streetTV took place . As "La TV del Pratello" (Bologna, 1996) and OffLineTv (Roma, CSOA Forte Prenestino, 1996-97-98), BoicoopTV is a temporary experience, on air only few days. The aim is to re-appropriate media as a public access zone a dirty console that everyone can join broadcasting his/her own visions.
At the end of the 90's we can still consider this experiences as avanguard, but now, in the new millennium, street tv's is becoming a reality for all social groups: in 2002 OrfeoTV was born broadcasting on the umbra of MTV (uhf 51 in Bologna). It started the campaign www.telestreet.it to create a network of streetTVs.
In every city, town and village from north to south, little independent self-managed sisters spring from local neighbourhoods to condominiums. What is important is to meet one another, share knowledge, re-activate brains, build collective narrations.
Technically the kit is simple: an aerial, cable, transmitter, amplifier which everyone can collect.
Legally the situation is not nice: to build a street TV is illegal, a streetTV can only make appeal to art. 21. So in May 2003 Senators of Rifondazione Comunista introduced a legislative proposal to grant umbra to the local streetTVs while on the other hand Ministry of Communication is emitting decrees ad hoc to protect his Cavaliere's empire.
Waiting for the passage to the digital terrestrial which in 2006 will provide more then 100 new channels, we expect a new wild-west in the ether, but this time cowboys and sheriffs will not have easy life, there are pirate-hordes who are taking communications into their own hands.
Nettography:
www.telestreet.it
www.telebiella.it
www.comunicazioni.it/en/index.php
www.ecn.org/hackit98/faq_en.html
www.peppinoimpastato.com
