Doctor waus chaos computer film

Doctor Waus Chaos Computer Film

"Everything is one. Auber the 0". Image: allist.Film / new visions film hire

The history of the german hackers scene from the archive in the present

Each medium creates a new social sphare grouped around this medium, its uses, utopias and the attached to him. When the computer in the 1950s, the research laboratories first in the direction of universities in love, then arrived in the economy and finally in their homes, such a medium came under the people, which soon came into themselves.

The use and abuse, which emerged around computer use, have been quickly recognized in the international hacker scenes. Which impact computers in this epoch had to the german society, the new documentary will now be paid "everything is one. Auber the 0".

"Everything is one. Auber the 0"

Doctor Waus Chaos Computer Film

image: allist.Film / new visions film hire

The subtitle "dr. Waus chaos computer film" makes quickly that the perspective, the klaus maecks and tanja schwerdorf’s documentary, is that if not first, so basic german hackers herwart holland-moritz – called wau holland and known as "data artist" and "bit blacksmith" – is. Three quarters of the film tell how the chaos computer club was founded out of its initiative and founded around him in the mid-1980s.

This story is paid by the long-term college of the CCC, peter glaser, who is a while "poetonic" editor-in-chief of the "disadvantage", of the irregular CCC magazine was. While glaser reminds of the early years of the CCC, he (always together with his cat) is posted in front of a monitor screen, which serves him and us as a brucke, over which the various findings from the archive are worn in our presence.

"I love your computer"

The film therefore pays the history of waus and the CCC – but this neither as a biography nor as a technical sociological excursion in the past. Rather, a kind of mosaic of hacker subculture from archive finds is constructed: quotes and texts, videos of present, private movies, photos and scenes from the media archives of the public broadcasters and from feature films on the subject "hacker" construct this image of the technical opinion as a lived cultural and social practice.

At the beginning is the desire for freedom and self-determination in dealing with information. Information defines WAU holland right at the beginning of the film as an undue resource and as such it should be used by all and respected by anyone. From the hacker ethics of the with-students of the 1960s, the ethos of the CCC goes out, which pretends the hackers like a kind of work assignment, to indicate relevant to data abuse, security ies and potential technological hazards – problems with the gradual penetration of society the computer technology creates.

These are not only evident on computerization, but already in general handling of data, such as the population of 1983, the state telecommunications monopoly of deutsche post but also the reactor relief of chernobyl. All these are events that form the information policy and idolizing and behavior of CCC. The hackers create counterattacks and cover concealed truths.

In contrast between media reporting and the interior views of the hacker community on this, the film shows the burring hike of its protagonists – everyone forward wau holland – between lived personal conviction and their public defamation as a judicial offense and crime. While the hackers have reached in their utopia of the community, germany transforms into one "computerstate" (as the song of the same name of the band destroys in the background) and the openness reacts with strain, fear and sometimes even ponalization on the hackers and their actions.