Solar, geothermal and other renewable energy sources are quite ready for deployment in a wide variety of applications. They are not encouraged, not through tax policies nor through venture capital, because they don't make sense to an industry and economy that has based its business model on the exploitation of fixed and precious resources: A closed source model. As a result, we are suffering through a potentially irreversible environmental crisis, as well as a geopolitical conflict that is already spinning wildly out of control.

The maintenance of such imbalances is dependent on closed source processes. The power of puppet dictators in the oil-producing Middle East is perpetuated not just by US warplanes, but by their own economies which derive all their wealth through the exploitation of resources. Were these nations required to compete in the global marketplace through the production of goods or services, then a pa.s.sive, uneducated population would no longer bring their monarchs the wealth to which they are accustomed. As it is the peasants need only be educated enough to dig. And the closed source mentality travels all the way around the distribution cycle. Nowhere is the closed source imperative of an oil-based economy more evident than in the appointment, by America's judicial branch (though not its population), of a President to represent the oil industry.

Conclusion

The new transparency offered by the interactive medias.p.a.ce allows even the casually interested reader to learn how the West's foreign and domestic policies have been twisted to a perverse caricature of themselves. I do not wish here to beat the drum for a partisan revolution. Instead, I am to demonstrate how a growing willingness to engage with the underlying code of the democratic process could eventually manifest in a widespread call for revisions to our legal, economic and political structures on an unprecedented scale, except in the cases of full-fledged revolution. Transparency in media makes information available to those who never had access to it before.

Access to media technology empowers those same people to discuss how they might want to change the status quo. Finally, networking technologies allow for online collaboration in the implementation of new models, and the very real-world organisation of social activism and relief efforts. The good news, for those within the power structure today, is that we are not about to enter a phase of revolution, but one of renaissance. We are heading not toward a toppling of the democratic, parliamentary or legislative processes, but toward their reinvention in a new, partic.i.p.atory context. In a sense, the people are becoming a new breed of wonk, capable of engaging with government and power structures in an entirely new fashion. The current regime, in the broadest sense, will have ended up being the true and lasting one, if it can get its head and policies around these renaissance modalities of increased dimensionality, emergence, scalability and partic.i.p.ation.

My advice? Don't beat them. Let them join you. Choose to believe that the renaissance I am describing has already taken place. Instead of looking forward to a day when justice will be won, declare that we are living in a just world right now. Declare that we are simply fighting for more justice.

Movements, as such, are obsolete. They are incompatible with a renaissance sensibility because of the narrative style of their intended unfolding. They yearn forward towards salvation in the manner of utopians or fundamentalists: an increasing number of people are becoming aware of how movements of all stripes justify tremendous injustice in the name of that deferred future moment. People are actually taken out of their immediate experience and their connection to the political process as they put their heads down and do battle.

It becomes not worth believing in anything.

This is why we have to advocate living in the now in order to effect any real change. The should be no postponement of joy. Once we start down this path, there's can be no stopping. We begin to see the unreality of money. We begin to see how 'salvation' has been traded in for 'retirement' as the new ultimate goal for which Westerners suspend their lives and their ethics. (People work for companies they hate, and then invest in corporations whose ethics they detest, in order to guarantee a good retirement). We see the artificial obstacles to appropriate energy policy, international relations, urban planning and affordable healthcare as what they are: artificial. Meanwhile, what we can accomplish presents itself on a much more realistic scale when we engage with it in the moment and on a local level.

Yes, political structures do need to be changed. But we may have to let their replacements emerge from the myriad of new relationships that begin to sp.a.w.n once people are acting and communicating in the present, and on a realistic scale, instead of talking about a fictional future.

The underlying premise is still dependent on the notion of progress.

Indeed, things must get better or there's no point to any of it. But our understanding of progress must be disengaged from the false goal of growth, or the even more dangerous ideal of salvation. Our understanding must be reconnected with the very basic measure of social justice: how many people are able to partic.i.p.ate?

Our marketing experts tell us that they are failing in their efforts to advertise to internet users and cultural progressives because this new and resistant psychographic simply wants to engage, authentically, in social experiences. This should sound like good news to anyone who authentically wants to extend our collective autonomy. This population is made up not of customers to whom you must sell, or even const.i.tuents to whom you must pander, but partners on whom you can rely and with whom you can act.

Treat them as such, and you might be surprised by how much you get done together.

1 Karen Armstrong, A History of G.o.d, (London: Vintage, 1999)

2 First Monday, The High-Tech Gift Economy, Richard Barbrook., 1998, (http://www.firstmonday.dk/issues/issue3_12/barbrook/)

3 Douglas Rushkoff, Cyeria: Life in the Trenches of Hypers.p.a.ce, (Flamingo, 1994)

4 Wired Magazine, Jul 1997 (see http://www.wired.com/wired/archive/5.07/longboom_pr.html)

OPEN ACCESS LICENCE

This is the full text of the Demos open access licence which encourages the circulation of our work under certain copyright conditions. You can read a summary of the licence conditions at http://www.demos.co.uk/aboutus/openaccess_page296.aspx

DEMOS - Licence to Publish

THE WORK (AS DEFINED BELOW) IS PROVIDED UNDER THE TERMS OF THIS LICENCE ("LICENCE"). THE WORK IS PROTECTED BY COPYRIGHT AND/OR OTHER APPLICABLE LAW. ANY USE OF THE WORK OTHER THAN AS AUTHORIZED UNDER THIS LICENCE IS PROHIBITED. BY EXERCISING ANY RIGHTS TO THE WORK PROVIDED HERE, YOU ACCEPT AND AGREE TO BE BOUND BY THE TERMS OF THIS LICENCE. DEMOS GRANTS YOU THE RIGHTS CONTAINED HERE IN CONSIDERATION OF YOUR ACCEPTANCE OF SUCH TERMS AND CONDITIONS.

1. Definitions

1. "Collective Work" means a work, such as a periodical issue, anthology or encyclopedia, in which the Work in its entirety in unmodified form, along with a number of other contributions, const.i.tuting separate and independent works in themselves, are a.s.sembled into a collective whole. A work that const.i.tutes a Collective Work will not be considered a Derivative Work (as defined below) for the purposes of this Licence.

2. "Derivative Work" means a work based upon the Work or upon the Work and other pre-existing works, such as a musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which the Work may be recast, transformed, or adapted, except that a work that const.i.tutes a Collective Work or a translation from English into another language will not be considered a Derivative Work for the purpose of this Licence.

3. "Licensor" means the individual or ent.i.ty that offers the Work under the terms of this Licence.

4. "Original Author" means the individual or ent.i.ty who created the Work.

5. "Work" means the copyrightable work of authorship offered under the terms of this Licence.

6. "You" means an individual or ent.i.ty exercising rights under this Licence who has not previously violated the terms of this Licence with respect to the Work, or who has received express permission from DEMOS to exercise rights under this Licence despite a previous violation.

2. Fair Use Rights. Nothing in this licence is intended to reduce, limit, or restrict any rights arising from fair use, first sale or other limitations on the exclusive rights of the copyright owner under copyright law or other applicable laws.

3. Licence Grant. Subject to the terms and conditions of this Licence, Licensor hereby grants You a worldwide, royalty-free, non-exclusive, perpetual (for the duration of the applicable copyright) licence to exercise the rights in the Work as stated below:

1. to reproduce the Work, to incorporate the Work into one or more Collective Works, and to reproduce the Work as incorporated in the Collective Works;

2. to distribute copies or phonorecords of, display publicly, perform publicly, and perform publicly by means of a digital audio transmission the Work including as incorporated in Collective Works;

The above rights may be exercised in all media and formats whether now known or hereafter devised. The above rights include the right to make such modifications as are technically necessary to exercise the rights in other media and formats. All rights not expressly granted by Licensor are hereby reserved.

4. Restrictions. The licence granted in Section 3 above is expressly made subject to and limited by the following restrictions:

1. You may distribute, publicly display, publicly perform, or publicly digitally perform the Work only under the terms of this Licence, and You must include a copy of, or the Uniform Resource Identifier for, this Licence with every copy or phonorecord of the Work You distribute, publicly display, publicly perform, or publicly digitally perform. You may not offer or impose any terms on the Work that alter or restrict the terms of this Licence or the recipients' exercise of the rights granted hereunder. You may not sublicence the Work. You must keep intact all notices that refer to this Licence and to the disclaimer of warranties. You may not distribute, publicly display, publicly perform, or publicly digitally perform the Work with any technological measures that control access or use of the Work in a manner inconsistent with the terms of this Licence Agreement. The above applies to the Work as incorporated in a Collective Work, but this does not require the Collective Work apart from the Work itself to be made subject to the terms of this Licence. If You create a Collective Work, upon notice from any Licencor You must, to the extent practicable, remove from the Collective Work any reference to such Licensor or the Original Author, as requested.

2. You may not exercise any of the rights granted to You in Section 3 above in any manner that is primarily intended for or directed toward commercial advantage or private monetary compensation. The exchange of the Work for other copyrighted works by means of digital file-sharing or otherwise shall not be considered to be intended for or directed toward commercial advantage or private monetary compensation, provided there is no payment of any monetary compensation in connection with the exchange of copyrighted works.

3. If you distribute, publicly display, publicly perform, or publicly digitally perform the Work or any Collective Works, You must keep intact all copyright notices for the Work and give the Original Author credit reasonable to the medium or means You are utilizing by conveying the name (or pseudonym if applicable) of the Original Author if supplied; the t.i.tle of the Work if supplied. Such credit may be implemented in any reasonable manner; provided, however, that in the case of a Collective Work, at a minimum such credit will appear where any other comparable authorship credit appears and in a manner at least as prominent as such other comparable authorship credit.

5. Representations, Warranties and Disclaimer

1. By offering the Work for public release under this Licence, Licensor represents and warrants that, to the best of Licensor's knowledge after reasonable inquiry: