
Audio Interference 65: Library Freedom Project
The Library Freedom Project is an organization that’s making an impact in local communities, helping reduce the harm that people face online from hackers, law enforcement and major corporations.
The Library Freedom Project is an organization that’s making an impact in local communities, helping reduce the harm that people face online from hackers, law enforcement and major corporations.
In today’s episode, we’ll learn about community networks around the world, including NYC Mesh, FunkFeuer, and Rhizomatica. Community Networks offer local communities the opportunity to own and control their communication infrastructure.
We’re back to continue our series on radical, community libraries! In this episode, we chat with Ola Ronke Akinmowo of the Free Black Women’s Library, Dev Aujla of Sorted Library, and Jen Hoyer and Daniel Pecoraro from our own Interference Archive library.
This episode features an interview with artist and collector Alison Alder, a visual artist whose work blurs the line between studio, community and social/political art practice.
“We don’t believe that big gains and big transformations to unjust systems happen by just asking nicely. It happens by, as we’ve seen in all of the inspiring teacher’s strikes across the country – change happens by people really coming out and being disruptive. This is how folks throughout American history have gotten the things that they asked for, by going on strike. It’s really not some kind of radical theory.”
In this episode, Keith Brooks and Phil Brown share their experiences in the critical psychology movement that was a part of the revolutionary environment at Alternate U.
Listen to a discussion at Interference Archive about the various ways archiving sound can be a political act. With Mario Alvarez, Natiba Guy-Clement, Daniel Horowitz, and Samara Smith.
“Our lending policy is: as many books as you want, for as long as you want. We want people to take the time to live with the books as long as they need to, to figure out how they fit into the larger picture of how they live.” — Dawn Finley, FLOW
“I think we were interested in finding a true story. We were interested in telling the truth, not to make a propaganda film and not to make a film that would make people feel heroic. We wanted to make a film that was both sympathetic to the project and its goals and purposes, and at the same time was realistic about the world that it was operating in.”
– Robert Machover
“I remember walking home from that huge protest and feeling this sense of huge hope in the air…And it was just really exciting and it felt like things actually could change.”