n April 2010, the digital art collective Pad.ma released a manifesto titled . Its publication captured the anarcho-technological spirit undergirding the group’s construction of an open-source video-sharing platform, beginning with their exhortation to action, “1. Don’t Wait for the Archive,” and proposing alternatives to conventional understandings of historical material, such as “7. The Image is not just the Visible, the Text is not just the Sayable,” and “9. Archives are Governed by the Laws of Intellectual Propriety as Opposed to Property.” Pad.ma’s manifesto drew from—and distilled—a larger discourse around the function and place of archives at that moment, and coincided with the still-recent rise of information- and image-sharing services from Flickr to Pirate Bay, Facebook to Wikipedia. came at the crest of a conversation between artists and emerging institutions about the idea of what an archive could mean in regions with fragmented postcolonial histories scarred by cultural erasures, and as artists such as
