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Code is intended both as a computer-based language to program
software and as a functional and visual language for organizing
administrative processes, visualizing information, performing
behaviour control, and reinforcing shared imaginaries based on
surveillance and dread. This special issue of Digital Culture &
Society deals with the concept of code in relation to the Covid-19
crisis. The contributions depart from the idea that both forms of
coding have become dramatically intertwined during the pandemic and
are structuring a new way of being in and seeing reality. They
explore the new forms of data-driven surveillance and
representation of the pandemic evolution at the level of real-time
epidemiology, sensor technologies, science policies, push media,
and the heterogeneous counter-discourses that try to subvert them.
This book analyses the aesthetic and utopian dimensions of various
activist social movements in Western Europe since 1989. Through a
series of case studies, it demonstrates how dreams of a better
society have manifested themselves in contexts of political
confrontation, and how artistic forms have provided a language to
express the collective desire for social change. The study begins
with the 1993 occupation of Claremont Road in east London, an
attempt to prevent the demolition of homes to make room for a new
motorway. In a squatted row of houses, all available space was
transformed and filled with elements that were both aesthetic and
defensive - so when the authorities arrived to evict the
protestors, sculptures were turned into barricades. At the end of
the decade, this kind of performative celebration merged with the
practices of the antiglobalisation movement, where activists staged
spectacular parallel events alongside the global elite's
international meetings. As this book shows, social movements try to
erase the distance that separates reality and political desire,
turning ordinary people into creators of utopias. Squatted houses,
carnivalesque street parties, counter-summits, and camps in central
squares, all create a physical place of these utopian visions
This book analyses the aesthetic and utopian dimensions of various
activist social movements in Western Europe since 1989. Through a
series of case studies, it demonstrates how dreams of a better
society have manifested themselves in contexts of political
confrontation, and how artistic forms have provided a language to
express the collective desire for social change. The study begins
with the 1993 occupation of Claremont Road in east London, an
attempt to prevent the demolition of homes to make room for a new
motorway. In a squatted row of houses, all available space was
transformed and filled with elements that were both aesthetic and
defensive - so when the authorities arrived to evict the
protestors, sculptures were turned into barricades. At the end of
the decade, this kind of performative celebration merged with the
practices of the antiglobalisation movement, where activists staged
spectacular parallel events alongside the global elite's
international meetings. As this book shows, social movements try to
erase the distance that separates reality and political desire,
turning ordinary people into creators of utopias. Squatted houses,
carnivalesque street parties, counter-summits, and camps in central
squares, all create a physical place of these utopian visions
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