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Meintest du:. Akzeptiert von. Tags aller Mitglieder 15 : Alle Kudogeber anzeigen. Anja S. Schon gesehen? Antwort absenden. Konnten wir Ihnen weiterhelfen? Dear Readers!

The ascent of what is today called the middle class - others called it proudly the bourgeoisie in the early or midth century - was accompanied by lively debates, the flourishing of dissidence and sharp-witted criticism.

By the s, this tendency that was in full bloom already during the 18th century, was already waning. More and more, during the decades that followed, the critical stance found a haven at the margins of society whereas a saturated bourgeoisie that had gained decisive socio-economic influence and that had conquered political power, became defensive, if not apologetic.

It was a class whose spokesperson tended to defend things as they are. The arts, artists and writers that were worth the attention they coveted and sometimes gained, remained unconvinced when observing this complacency.

The critical "gestus" of noteworthy art and literature emerged during the revolutions of and in France. Except for short interruptions, as in the heydays of nationalism shortly before and during World War I, it has been characteristic of the "bohemia" ever since. That is to say, until the commodification processes became extreme, and until the art market and public relations strategies with respect to the book market, accompnied by major processes of capital concentration in these fields, became hypertrophic in the phase of globalized thus Americanized corporate power, that has become almost omnipresent under financial capitalism in the late 20th and early 21st century.

Today, our critical voices are not only marginalized. The mainstream outlets filter and separate the admissible from the unwanted. Strategies become necessary to enter the circuit as a critical thinker that tend to deform because they demand caution and compromise.

Perhaps this is a reason why the internet has become a refuge for those whose voices are otherwise almost silenced under the pretext of being "unattractive" for the general public: too far from a general denominator produced by the dominant outlets. The lively and manifold quality of alternative debates has occasioned, however, a backlash. When citizens, engaged in acts of civil disobedience often motivated by ecological concern, opposition to militarism, or concern caused by a permanent mutilation and deformation of 'liberal bourgeois democracy' as we knew it, or propelled even by the quest for participative democracy , post certain videos on Youtube, they often find their video statements deleted.

Obviously, governments have created a sort of internet police. Departments of the security apparatus which may be called more appropriately an insecurity apparatus have stepped up wholesale preventive surveillance of ordinary citizens.

Based on lists of keywords, they also scan our statements on Facebook, Twitter, etc. The editor of this issue of Art in Society had recently a post deleted on his Facebook timeline. He had posted questions, coupled with short summaries of information gained from several media, thus the observation by German Green Party MP Claudia Roth that wounded ISIS fighters were treated in Turkish military hospital as she found out personally during her visit in Turkey , and the German public radio report that Kurdish fighters in Kobane said, "We don't know what the Americans [i.

This was backed up by further Arab media reports that villagers in Iraq had seen unidentified helicopters but also other helicopters identified as American land in ISIS held territories and that apparently, weapons were unloaded. It was backed up by the observation of the Iraqi government that American air support in the fight against ISIS was "insufficient" if not "inefficient," the observation that the US army was training Sunni units in Iraq outside the framework of the Iraqi armed forces, and that a major success of the air war in Syria against ISIS was the destruction of a key granary of the Assad regime.

The question that was triggered in the mind of this editor, but that was not conclusively answered, was: Is the US really fighting ISIS or do they need this story as a smokescreen for an air war in Syria against the Assad regime? Without harboring sympathies for the Assad regime, many of us better informed citizens seem to be skeptical with respect to such intervention, in the wake of the war on Iraq that was justified with lies, and this editor does not deny that he is opposed to military interventionism.

As mentioned already, the post was deleted. When this was discovered, it was placed again, in April , on the same Facebook timeline. On the very next day, it was discovered that the computer used for this purpose had been severely attacked. Such attacks continued throughout April and until May 22, when we were finally unable to access the internet for a long period, finding a solution only at the end of June.

The May issue of Art in Society, effectively obstructed, thus was put onlkine only in early July, The same had happened during the days in late August , when the anti-war issue of Art in Society was uploaded.

The work was interrupted by a series of attacks. It could be resumed after solving computer problems in the course of September. It is noteworthy that there occurred no attacks since the nuisance experienced in late August and early September , until that day after the second critical post on Facebook.

The temporary connection with critical "content" placed on the internet is very obvious.