Klaudio Stefancic wrote about ZaMirNET among other topics, in his text New Media - New Networks / New Media Art in Croatia
and Geert Lovink about Syndicate
Lovink, Geert. — My first recession : critical Internet culture in transition. — Rotterdam : V2_Organisation, Institute for the Unstable Media, 2003
"In the third chapter, "Deep Europe and the Kosovo Conflict," Lovink presents his first case study of a parallel network: the Syndicate mailing list created in 1996, and the project Deep Europe, which forged ties between communities in Western and Eastern Europe. By supplementing his analysis with posts from the mailing list, Lovink shows how this network gradually opened up to people outside the media arts community. The involvement of outsiders intensified during NATO interventions in Kosovo when Syndicate served an alternative news media. In 2000, Syndicate shut down as the result of "trolls" saturating the list with encrypted messages. Lovink details the issues raised by the rapid expansion of a collectively developed forum exposed to this type of information overload."
On Oct 6, 2013, at 13:05 PM, Armin Medosch wrote:
> Hi Charlotte,
> while it is surely interesting to recall individual posts I think it is also importatt to point out that many of those posting could only do so because they had access to the net and that in itself was nothing to be taken for granted. A great role in that respect plaid Zamir net which started in 1992 and which connected peace activists in former Yugoslavian states ... there is a wikipedia entry about it http://en.wikipedia.org/wiki/ZaMirNET
> Another, less well known story is how Serbian hackers ensured email connectivity for civil society at a time when Serbia was under international embargo and didn't even have a domain name.
> As I have tried to point out in the past, without much success, the material layer of networking also matters. Arts and humanities scholars have a tendency to ascribe too much importance to what you could call the semantic and symbolic layer. No email from Serbia would have found its way to the syndicate list withoute having a route to travel on. Those routes are provided by people who also have cultural and political ideas, so that those human-technical assemblages also have meaning, if you so want, something that should also be considered, hwever, without tipping over into a one-sided materialism
> all best
> On 10/06/2013 12:40 PM, Charlotte Frost wrote:
>> So far we've had little mention of the Syndicate list, which was extensively
>> chronicled in a post to Nettime in 2001 by founding members Inke Arns and
>> Andreas Broeckmann:
>> One of the things that I believe was so important to this list at the time
>> (and perhaps even more so with some historical perspective) was the voice it
>> gave people of the former Yugoslavia during its civil war. It's common place
>> now to talk about how platforms like Twitter break through political
>> censorship Iran and Egypt are good recent examples but on a list like
>> the Syndicate, such freedom of speech could be both a benefit and a
>> detractor, as Arns and Broeckmann note. I'd love to know if anyone involved
>> with the list at this time would like to recall individual posts that
>> illustrate this difficult period.
>> And also more generally if anyone would venture an account of their
>> relationship with the Syndicate what collaboration its led to, and what
>> it was like to lose it especially in light of the comments we've already
>> had about how much of loss the Rhizome Raw list was.
>> Inke and Andreas, I've BCC'd you in case you have time to offer anything to
>> this discussion on Media Art Curating I can forward your responses if you
>> are not current subscribers/are pushed for time. You'll find more on this
>> month's discussions here:
>> All the best,