Hate Library - A public reference resource about far-right communities online and their offline consequences.
- Submitting institution
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The University of Leeds
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- UOA32-4365
- Type
- M - Exhibition
- Venue(s)
- Foksal Gallery (Warsaw), June–August 2017; HKW / Haus der Kulturen der Welt (Berlin), January–February 2018; HMKV / Hartware MedienKunstVerein (Dortmund), March–September 2019.
- Open access status
- Out of scope for open access requirements
- Month of first exhibition
- -
- Year of first exhibition
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Far-right parties and fringe communities are growing and strengthening internationally. One distinguishing feature of their resurgence is an innovative use of the internet and social media tools to collaborate, build community and expand memberships. Hate Library’s activities re-frame this social, technical and political shift as a post-digital and post-organizational conflation of official and unofficial activist methods; exploring how digital networked technologies are re-mediating far-right ideas, tactics and transnational patterns.
This project is constitutively interdisciplinary, combining insights and experts from media theory, comparative literature, the social sciences and documentary arts practice. Its findings were enacted and communicated through my solo exhibition (items A, K), which toured from Warsaw to Berlin and was re-staged in Dortmund, Vienna and Berlin, and through a number of scholarly activities (items B–D, L). This work staged an offline experience of far-right online conversations, framing user-driven platforms as self-publishing channels. Item C advocates ‘taking responsibility for public language’ as a post-conceptual authorial act, and argues that offline public reference resources could be a vital space for collective resistance to post-digital extremism. Item D contextualises the gestures displayed by Hate Library in artistic terms, framing the act of re-publishing as an artistic one that aims to propagate new modes of access to, and attention towards, already-public content.
This project develops two trajectories of new insights. First, it introduces the media-theoretical frame of the ‘post-digital’ to both social science discussions about radical right transnational networks and to discussions about how we find, organise, store, share and debate textual matter in/as installation art. Second, it shows how Web 2.0 networks collapse traditional distinctions between official publishing channels and self-publishing practices, in and beyond art, extending my previously published non-academic work on the topic, which ranges from journalism (item E) to creative non-fiction (item F) to academic editing (item G).
- Author contribution statement
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- Non-English
- No
- English abstract
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