With creativity and desire hijacked so effectively by work, spectacle and cyberspace what, asks Franco ‘Bifo' Berardi – across three books published in English this year – has become of autonomy today?

As the urban grid of modernity gives way to the web, and architecture cedes to the virtual dynamics of tethered electronics, Daniel Miller cracks open the password protected ‘post-city’

I City of Zombies

When rivalry still openly reigned between the Obama and Clinton camps of the Democratic Party, Ulrich Gutmair spoke to Sci-Fi writer and pioneer of cyberpunk, William Gibson, about American politics, the online age and Voodoo

UG: You invented the term cyberspace when only a few people were online, on an early version of the Internet. What is the most fascinating thing for you on the net today?

Clay Shirky's Here Comes Everybody is reputed to be the best book ever written on Web 2.0. But why the strange silence on questions of copyright, privacy and ownership?

There has been a recent public outrage over anti-piracy lobbyist amendments to a European Parliament Telecom reform bill. The amendments would both implement a 'three-strikes' rule, which would cut off internet access for anyone suspected of illegal file-sharing, as well as giving government control to which internet software and services could be 'lawfully' used. On 7 July 2008, in Brussels, politicians voted in favour of the addition of these amendments to the Telecom law which will be voted on in September.

This year’s Transmediale festival in Berlin was themed around the conceptual term ‘Conspire’. Here, Marina Vishmidt reviews its multiple presentations of ‘good’ and ‘bad’ collaborative truth production, and queries some suspicious absences

The recent research project and series of exhibitions After Neurath revisits the work of Otto Neurath, renaissance man of the Vienna Circle who had attempted to relate the puzzle of social change by pictorialising knowledge. Marina Vishmidt assesses Neurath's attempt to bridge the world between art and non-art in the terms of current debate and draws a materialist line under any positivistic expectations of the exhibition as research [1]