The third edition of the magazine Facta - Revista de Gambiologia is out. As usual, the texts are in Portuguese and English and the content is brilliant.

Facta is an experimental publication orchestrated by Fred Paulino and the Gambiologia group. The first issue of Facta addressed the 'science of Apocalypse', the next one looked at people who accumulate, collect and re-purpose. This issue is all about the hacker culture, poetics and ethics in all their guises and deeds.

I'm waiting from my paper copy to arrive from Belo Horizonte but in the meantime i had a quick look at the online edition of the magazine. It's already available on ISSUU. As are Gambiologia's previous publications. Hurray!


So what's inside? Things you don't expect and things you expected, only approached from a new angle.

Some of the articles explore hacking very directly. With a history of society's perception of hacker. Up to today and what Brett Scott calls 'the gentrification of hacking' (meaning that pretty much anyone likes to call themselves a hacker, especially people busy making money in Silicon Valley.)

Or with a portrait of/homage to Aaron Swartz, the hacktivist and computer programmer who believed that knowledge should be available to all. His Guerilla Open Access Manifesto is also featured in the magazine.

I also liked the little tour of hackerspaces around the world: Bogohack in Bogota, Hacker Space Palestine in Gaza, Ihub in Nairobi, Raul Hacker Club in Salvador Brazil, Xinchejian in Shanghai, MadLab in Manchester, etc.

I discovered the existence of Kids Hack Day in Facta. KHD, which ethos is summed up in School is dead, learning is not, is a one-day hackathon in which children are invited to open up everyday objects and rebuild, re-purpose, reinvent them. The experiment started in Stockholm and rapidly spread to other cities.

Inside Facta #3

Inside Facta #3

However, many of the articles put hacking into a broader context. Dispelling any misconceptions we might still have about hacking/hackers, looking at how the hacker ethic can be applied to all areas of life and calling for hacker culture that would focus more on social and ecological processes, rather than just technology.

Brett Scott wrote Hacking the future of money. Setting up a financial hackspace in which he explains why he is setting up The London School of Financial Arts, a space where creative minds apply the hacker philosophy to the financial system.
By the way, Brett Scott's book Heretic's Guide to Global Finance: Hacking the Future of Money is still up for download.

Maria Ptqk has a witty article about reality hacking that goes from Yes Men's stunts to patterns of open sources technologies.

There's also an essay about Steganography. The Art of Writing Hidden Posts. Steganography is the art of hiding message into message, image or objects. So it is a bit like cryptography. Only sneakier because you will probably never know there is a crypted message somewhere in front of you. Unless you look for it. Apparently, it's one of Al Qaeda's preferred mode of communication.

There's an essay on Houdini, 'Sense deprogrammer and supernatural debunker' who was also working as a spy for US and UK secret services.

And i learnt about MSST, Movimento dos Sem Satélite (Movement of Peoples without Satelites.)

Of course, Facta also contains some great little tutorials. One shows how to resurrect and transform a burnt out bulb (a project by Thomas LEDison). Another explains how to make homemade hydrogen to inflate balloons.

We need more mags like Facta. It's critical, smart and passionate. And it's made by doers who are not afraid to dip their toes into theory, history and the social dimensions of technology.

Inside Facta #3

Inside Facta #3

Inside Facta #3. Fernando Rabelo, HQML. Algoritmo Cotidiano

Nicolas Larmessin, Habit d'orlogeur, circa 1700 (image)

Houdini (image)

This way to buy a paper copy.

Previouslyy: Gambiologia, the Brazilian art and science of kludging and Magazines: Facta (the Gambiologia magazine), Neural and Aksioma brochures.

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HOLO - a magazine about emerging trajectories in art, science, and technology.



Published twice per year, and weighing in at more than 200 pages, each issue of HOLO provides intimate views into fascinating studios, workshops, and institutions around the world, as seen through the eyes of stellar photographers and talented writers. The pace, depth, and sensibility of print allows us to invest heavily in each story, and draw on months of travel, research, and conversation to craft nuanced portraits that you won't find anywhere else.

HOLO is what happens when enthusiastic minds meet and decide they'd like to use a paper publication to share their passion about creativity and digital technology. The magazine is ambitious, elegantly curated, impeccably illustrated and intelligent. It also manages to convey a feeling of warmth. HOLO opens the door to artists and designer's studios for in-depth conversations and intimate moments. I loved seeing a photo of some of the trophies won by David O'Reilly, dozens of them are casually crammed up on a closet shelf in his L.A. flat. And HOLO is full of little, human touches like that. The content and tone of the interviews in HOLO are not the ones you'd find in your run-of-the-mill interviews. They are incredible conversations between people who have a lot of respect and understanding for each other's work. I love reading about the working life and ideas of David O'Reilly (who wouldn't?), Semiconductor, Zimoun, Philip Beesley, Raquel Meyers. And Wolf Lieser! The founder of DAM, a Berlin gallery selling and championing digital art, has quite a few eye-opening comments on the relationship between digital artworks & the art market.

HOLO also contains essays, called 'Perspectives', that look at the 'emerging representational and perceptual paradigms'. I particularly enjoyed reading an essay on surveillance by James Bridle who manage to give a new twist on an already much discussed issue, and a text in which Greog Borenstein details 'debug view art'.

HOLO closes its over 200 pages on a brilliant and witty "Stream' that charts the most interesting moments of the Summer/Fall 2013, reminding us in the process that we're so absorbed by the now and the next that we've forgotten how exciting our near past has been. The time line mentions lab-grown burgers, discussion on conservation in the computer age, royal pardon for Alan Turing, a robotic petting zoo, etc.

So there you are! HOLO is a beautiful world inhabited by talented and enthusiastic people and I spent a great time immersed into HOLO but it's not my world. Which is both criticism and praise...

Raquel Meyers, The Yeti Sound Machine (more videos)


Dev Harlan, Parmenides I (image via Spectacular)

I'm obviously interested in "emerging trajectories in art, science, and technology" (i've been writing about it for 10 years after all) and it is stimulating to see that other people are covering the same areas of creativity from a radically different perspective.

I like everything i find in HOLO: the splendid photos and design, the dense texts, the people involved in the project. I could go on and on. But i do feel that HOLO could engage a bit more with the broader cultural context, it could develop a more critical voice while maintaining much of its contagious enthusiasm for all things digital and interactive. But maybe that's just me, maybe i should stop looking for the potentially worrying political, ethical and social impacts of technology everywhere. We are living maddening times and publications like HOLO allow us to think of something else than crisis, social inequalities, the NSA, speculation on the future of the planet, etc. Both criticism and praise, thus.

I need to add that i did feel a bit uncomfortable when i realized that very few women had been involved in the mag. Gender balance has never been a big concern of mine but i couldn't help but notice that only a handful of women are featured as artists/designers or are part of the editorial team. It would also be good to get outside of our comfortable Northern America/Europe/Japan media art bubble but i guess we all struggle with this.

Anyway, do get a copy. Really. It's ridiculously affordable, smart and entertaining. You'll cherish it for years to come.

Photo Studio Axel Pfaender

Photo Studio Axel Pfaender

This month, i've been reading...

Evan Roth, T.S.A. Communication, 2009

I recently discovered that Aksioma (the Ljubljana-based Institute for Contemporary Art exploring projects that utilize new technologies in order to investigate and discuss the structures of modern society) was publishing brochures about the work of some of my favourite artists and activists: Jill Magid, SOCIÉTÉ RÉALISTE, monochrom, Trevor Paglen, UBERMORGEN.COM, Frederik De Wilde, etc. The last issue is dedicated to the work of Evan Roth, with a special focus on the selection of works displayed in his show Flight Mode. I wrote that one. This will probably sound ridiculous but i usually avoid mentioning any extra-wmmna activity at all costs. However, i had so much fun writing this text, i don't even feel embarrassed sharing it with you. Here it it in all its PDF glory.

In connection with the publication, Evan has released a new web piece: flight-mode.net. And i really really liked the related video For Your Safety:

One of the best surprises of recent months was receiving a parcel containing the latest issue of FACTA, the magazine of Gambiologia, the Brazilian art and science of kludging. It's punk, it's upbeat and incredibly smart. The first issue addressed the 'science of Apocalypse' and this one is all about accumulating, collecting and re-purposing.




The publication explores the theme under various angles. I loved the text on 'scrap artists', from the Dadaists to Chinese farmer Wu Yulu and Brazilian eccentric Farnese de Andrade. Tutorials will teach you how to make lamps and 'alarms' to protect your collection. An essay on fast fashion explains why 'to collect is quite different from collecting'. And i need to mention the story of the ultimate compulsive 'hoarders': the Collyer brothers. They died among their garbage. The police had to dig for 5 hours until they uncovered the body of Homer Collyer behind an accumulation of books and debris. The decomposing corpse of his younger brother was found 2 weeks later, ten feet from where his elder had died.

To buy a copy of FACTA, send an email to euquero at facta.art.br. And because they are that nice and generous, the Gambiologia team also uploaded the magazine on ISSUU.


I still need to wrap my head around the fact that the award-winning magazine Neural has just turned 20. That's 20 years championing new media art, electronic music and hacktivism! To celebrate the achievement, Alessandro Ludovico and his team have recently published a bigger than ever issue (#46), "Unearthed: The 20th Anniversary Issue." It contains 'visionary' interviews (from William Gibson to Jodi!) and articles published in its first decade and available for the first time in English. And if you're a subscriber, you will also get the "First 20 years" poster.

You can also subscribe to the magazine Digital Edition accessing all issues since #29. It's only £16.50 for one year. That's such a reasonable price, it would be rude not to jump on the offer.

Neural #46, "Unearthed: The 20th Anniversary Issue"


Aspect: V21: A Good Place to Stop! The title of this issue of the dvd-magazine is literal: this is the final stop for a publication that, in 10 years & 26 DVDs, has shown, promoted, curated, archived and put into context the works of over 200 artists working in new or experimental media. While i understand and respect the editors' decision, i'm going to miss Aspect. I liked it a lot, you see. While any artwork benefits from being seen 'in the flesh' rather than on the pages of a magazine, time-based works usually need the addition of sound and video to be better appreciated. ASPECT: The Chronicle of New Media Art gave the public the possibility to enjoy an artwork at their own pace: each work is introduced by a brief statement from the artist, it is then shown in its totality both as it would be in any art gallery but also in a version that shows the same video with optional audio commentary by a curator, theorist or educator who discusses the background and meaning of the piece.

Aspect: V21: A Good Place to Stop presents 8 time-based works that explore the concept of endings. Either literally or metaphorically.

Pulse Machine

Alicia Eggert and Alexander Reben's Pulse Machine deals with the ultimate ending: death. Both the death of human beings and the one of technologies that have become obsolete.

This electromechanical sculpture was 'born' in Nashville, Tennessee on 2 June 2012. It has been programmed to have the average human lifespan of babies born in Tennessee on that same day: approximately 78 years. The kick drum beats its heartbeat (at 60 beats per minute), and the mechanical counter displays the number of heartbeats remaining in its lifetime. An internal, battery-operated clock keeps track of the passing time when the sculpture is unplugged. The sculpture will die once the counter reaches zero.

Pilvi Takala, Real Snow White (video excerpt)

Pilvi Takala's Real Snow White is by far the most charming and absurd work in the selection. The young and pretty Finnish artist arrives at Eurodisney in Paris dressed as White Snow. Soon children want a photo and autographs from her. But her adventure will end before she can even pass the gates of the entertainment resort. Takala is asked by a security guard not to enter because the 'real' Snow White is already inside. That could create confusion. Besides, what would happen if the 'fake' Snow White does 'something bad'? The conversations between the artist and members of the security team sounds laughable. Unless you know about Disney's thirst for trademark and its application pending with the US Patent and Trademark Office for the name "Snow White", which would cover all live and recorded movie, television, radio, stage, computer, Internet, news, and photographic entertainment uses, except literature works of fiction and nonfiction.

There are 6 other works to discover inside the new issue. Grab yours here!

Previously: Magazine review: ASPECT - The Chronicle of New Media Art.


I wouldn't normally review a zine that's ridiculously hard to get your hands on but the purpose, production and spirit of Critical Making are so meaningful and pertinent to today's culture that i had to make an exception. Critical Making is series of small booklets that look at the political, social, activist and even historical dimensions of the DIY culture:

A handmade book project by Garnet Hertz in the field of critical technical practice and critically-engaged maker culture. Critical making is defined by Ratto as exploring how hands-on productive work - making - can supplement and extend critical reflection on the relations between digital technologies and society. It also can be thought of as an appeal to makers to be critically engaged with culture, history and society.

Releasing Critical Making must have been an exhausting experience. It's a hand-made zine and Garnet Hertz played the role of the chief editor of course but he also had to print the texts and images, fold the pages, trim them, get blisters while relentlessly stapling the booklets together, craft a parcel, add the address and ship the zines. That's hundreds of stacks of booklets that had to be sent to hundreds of people across the world. I know i'm going to treasure my copy as if it were an artwork (which it probably is.) He's not even selling the zines, nor is he earning money from ads because the pages are rigorously ad free.


Critical Making might look all punky and crafty but the content is solid. Contributions started pouring in after Hertz asked people on social networks to respond to the concept of critical making. And because he knows some of the most interesting people in the art & tech world, the line-up is pretty spectacular: from an essay by Carl DiSalvo on adversarial design to cuttings of vintage magazines that explain you how to build a poultry feeder that doubles as a rat trap, from Rafael Lozano-Hemmer revealing How to Make Very Large Projects to interviews with Alex Galloway or Natalie Jeremijenko. I'll stop the list here because the table of content is on the webpage of the project.

Garnet Hertz, Made: Technology on Affluent Leisure Time, 2012 (Parody and critique of Make Magazine by O'Reilly Media. Distributed as sticker for free and included in Critical Making first edition)

But Critical Making is also a courageous project. While acknowledging the role and importance of O'Reilly and Make Magazine in popularizing the DIY culture, the publication asks us to look at aspects of the DIY culture that go beyond buying an Arduino, getting a MakerBot and reducing DIY to a weekend hobby. Critical Making embraces thus social issues, the history of technology, activism and politics. The project stems also from a disappointment. A year ago, Make received a grant from DARPA to create "makerspaces" for teenagers. Everyone who, so far, had assumed that a culture built on openness was antithetic to the murkiness that surrounds the military world was bitterly disheartened. CM is not the anti-Make Magazine, it is simply an alternative, a forum for electronic DIY practice to discuss hacking, making, kludging, DIYing in a less sanitized, mass-market way. One of the CM booklets (aptly titled MAKE) brings side by side Dale Dougherty's defense of the grant (Makerspaces in Education and DARPA) and an essay by Mitch Altman who asks Do Funding Sources Matter? Further discussion about the controversy in the video DARPA Funding for Hackers, Hackerspaces, and Education: A Good Thing? with Mitch Altman, Psytek, Willow Brugh, Fiacre O'Duinn, Matt Joyce)

Ultimately, what Garnet Hertz is now wondering is what he should do with Critical Making: Should he turn the zine into a book people would be able to buy? Release it for free online? Should he hand-make more copies?

I love the format, the physical effort, the limited-edition aspect of Critical Making. On the other hand, i believe that a critical discussion in art and tech deserves a more popular platform (a book, a blog, a PDF, etc.) especially when it is presented in such a pleasant and intelligent way. If you have any suggestion, you know where to reach him (plus, he might have a few extra copy to send out.)

Until CM can be mass-marketed, we'll have to make do with two videos in which Garnet Hertz explains the context and motivations behind the creation of the Critical Making zines: Critical Making: Moving Beyond Arduinos and MakerBots (lovely shirt, Garnet! very Isabel Marant) and Crunch Lunch with Garnet Hertz:

Previously: Interview with Garnet Hertz.

I've visited 5 photo exhibitions all over London yesterday. Here's a few words about the ones i found most interesting. Starting with 'Last Days of the Arctic'...

Dog on a Chain, Sermiliqaq, East Greenland, 1997

Horns, Uummannaq, West Greenland, 1998

Little Bent with puppy, Kap Hope (Itterajivit), East Greenland 1995

16 Icebergs, Ilulissat, West Greenland 2002

Glacial Storm, Ittoqqortoormiit, East Greenland 1998

Dog in a window, Sermiliqaq, East Greenland 1997

The exhibition on view at Proud portrays a disappearing landscape and the Inuit people who inhabit it. Because much has changed since Ragnar Axelsson's first visit to Greenland's remote regions 35 years ago, the photos capture what might be the last moments of an ancient culture that has contributed the least to cause climate change and yet is the one suffering the most visibly and acutely from its effects.

Zed Nelson, Phil Wolf, used-car dealer and member of the 'birther movement'. Wheat Ridge, Colorado

Next in line is not an exhibition but a magazine i picked up while visiting a rather disappointing photo show. Vignette is a free paper magazine you can grab in various bookshops and art galleries across the UK. I've seen many photo magazine but Vignette is The One for me. It's a broadsheet without any glossy page you might spoil with greasy fingers, but each issue is so beautifully and simply designed that you'd want to hold on to it. Vignette contains the usual: information about photo book, photo products, exhibitions, list of events, spotlight on online resources for photo enthusiasts, list of competitions and other opportunities, etc. Each issue has a theme and the current one, the "travel Issue", presents a couple of photo essays, the most striking is probably Right Wing Along the Rio Grande - a journey along the Rio Grande River through four states of America, reflecting on the American Right TEA Party movement.

Zed Nelson followed the flow of the river through three states two years after the election of America's first black president. On the way, he met people who claim that Obama is 'a radical Muslim', are afraid of 'Marxism' and believe that fences and guns are the best way to deal with illegal immigration.

George Sprankle. 'Minutemen', border 'vigilante. Hereford, Colorado

Babbi Girl. TEA Party member. Hereford, Colorado

Mobile home RV dealership

The border fence between USA and Mexico, patrolled by the US Border Patrol agent David Hurtado. Nogales, Texas

Border fence between USA and Mexico. Arizona

The White Sands missile range. The site of the world's first atomic bomb explosion

The second exhibition i should mention is the solo show of Hisaji Hara at Michael Hoppen Gallery. Hisaji Hara used his camera and a few delicate Japanese schoolgirls to recreate paintings by Balthus (1908-2001). Hara creates his images through multiple exposures, all done in-camera without computer manipulation, which coupled with the use of smoke machines and cinematic lighting lends them a wistful, timeless quality akin to the paintings he has referenced.

Hisaji Hara, A Study of 'The Salon', 2009 (the painting)

A Study of 'The Happy Days', 2009 (the painting)

Last Days of the Arctic remains open at Proud til 11th March, 2012.
Hisaji Hara is at the Michael Hoppen gallery until 31st March, 2012.

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