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The two installations are composed of identical elements, connected in a network and exchanging information through electric signals. The collective behavior of the actuators and sensors create unpredictable patterns, as though a system of living organisms with their own variable program. A moving scene emerges, where the borders between a ‘natural’ order of things and the mechanical constructions of humans are tested

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When Jonáš Gruska is not busy giving workshops on urban sonification, creating his own recording instruments, making electromagnetic fields audible or organizing a solar-powered (experimental) music festival called SVUK, you’ll find him under bridges, inside bridges, in ventilation systems or near oil refineries exploring the psychoacoustic properties of sound in industrial spaces

This piece of sound equipment emits low frequency infrasound waves, which causes those in its path to release the contents of their bowels—or more colloquially, to “shit themselves”. This kind of sound cannon has its roots in sonic weapons first developed by the Nazis for the purposes of crowd control, and purportedly also by the French authorities during the Paris riots of 1968

The book examines cultural contexts and stereotypes with visual examples. It demonstrates that communication tools are never neutral, and encourages its users to rethink global cultural understanding. Additional works by contemporary artists and designers show that political awareness does not limit creativity, but opens up new explorations for a critical visual culture

A new variety of capitalism is currently taking form on the African continent. States are being remade under the pressures of rapid demographic growth, conflicts over boundaries, security demands, and the offerings of multi-lateral donors and data-processing corporations. Much of this turns to enhanced forms of state surveillance that is common to societies across the globe, but the economic and institutional forms on the African continent are unusual

Each of the essay in the book explores a different case study: ‘anti-Indianism’ in New Mexico, influence of Israeli policing structures on the LAPD, New York city’s strategy to rely more on invasive policing than on mass incarceration, LA Skid Row as a testing ground for police practices that will be exported to the world, links between criminalization of poverty and real estate speculation, state violence and gentrification in El Salvador, etc.

Ellie Irons is one of those rare artists whose work opens your eyes to what is just under your nose but remains unnoticed. Some artists bring the spotlight on data collecting, others on corruption, corporate malpractice, or land grabbing. Ellie forces us to consider the wild and often reviled urban ecology that sprouts all around us. She uses galleries to provide asylum to wild and invasive plant species, extracts the pigments from local weeds to paint their map-like portraits, photographs the vigorous life growing inside vacant lots, and is actively collecting the seeds of the most humble but robust plants that mirror population growth and flux in globalized cities

There is a surprising similarity in the way neural networks and analogue modular synthesizers function, in that for both, voltages are passed through components to produce data or sound. The neural interface we developed juxtaposes these two networks and in a sense creates a continuum that creates one unified network. With CellF, the musician and musical instrument become one entity to create a cybernetic musician, a rock star in a petri dish.

The objects, books, artifacts, gadgets and artworks offer a contemplation on autonomy as a disappearing modus operandi of political action, while workshops, discussions and demos focus on the devices we use every day: How do they work? What individual data traces do they capture? Where do these go, and what kind of control can one regain?

Through the course of these lifeworks, Hsieh moved from a year of solitary confinement in a cell to a year in which he punched a worker’s time clock in his studio every hour on the hour to a year spent living without shelter in Manhattan to a year in which he was tied by a rope to artist Linda Montano and finally to a year of total abstention from all art activities. In 1986 Hsieh announced that he would spend the next thirteen years making art but not showing it publicly

In 1961, Donald Michie, a British WWII code breaker and a researcher in artificial intelligence, developed MENACE (the Machine Educable Noughts And Crosses Engine), one of the first programs capable of learning to play and win a game of Noughts and Crosses (or Tic-Tac-Toe if you’re American.) Since he had no computers at his disposal at the time, he created a device built out of matchboxes and glass beads to simulate a learning algorithm.

The Promise of Total Automation, an exhibition recently opened at Kunsthalle Wien in Vienna, looks at our troubled relationship with machines. Technical devices that were originally designed to serve and assist us and are now getting smarter and harder to control and comprehend. Does their growing autonomy mean that the machines will one day overpower us? Or will they remain our subservient little helpers, our gateway to greater knowledge and sovereignty?

Destructables.org is a DIY repository of projects of protest and creative dissent. The site features user generated step-by-step video and photo/text based instructions for a wide range of dissenting actions, including art actions, billboard alterations, shop-dropping, protest strategies, protest props, methods of civil disobedience, stencil work, and many other forms of public dissent – from the practical and tactical to the creative and illegal. It is a living archive and resource for the art and activist communities