An oracle inspired by Marxism, a School of Algorithmic Solidarity, a bot that follows Socrates’ encouragement to “know yourself”, a poetical exploration of the asynchronicity between human and computer times, an archive of body parts that resist patriarchal technology….
Playing with gender tropes, stereotypes, sense of place, and future perspectives, artists interrogate individuality as we know it and as it might be
The ubiquity of access to information has lulled us into complacency with its flipside: ever more highly technologized forms of surveillance and the overexposure of our personal data
Artists and writers examine the bombardment of information, misinformation, emotion, deception and secrecy in online and offline life in the post-digital age
Can the values that blockchain makes possible -such as transparency, sharing of resources and equal access to information- be applied to how the art world thinks and functions?
If you click around Santamaria’s website and feel like you’re falling down the rabbit hole, that’s part of his plan. He wants you (and the data) to go to places where you’re not supposed to go
An art installation at Furtherfield Gallery and on the Internet explores what happens when networked surveillance tools and AI capabilities get sick in the head
Angela Washko actively seeks out new ways to facilitate or enter into conversation with individuals and communities who have radically different ideas and opinions in an attempt to create spaces for discussion, productive dissent and complexity
In 2014, the designer compiled a Computer Virus Catalog. He’s telling me about about the malware exhibition he co-curated in Rotterdam
A journey into the dark side of computing illustrates the beauty and sophistication of some viruses, highlighting the creativity behind their methods of disruption
The exhibition gives a broad and ambitious overview of online art developed in America since 1994 while also trying to ponder upon the form and meaning of arts that dematerialize
The book documents creative strategies by artists, fashion designers and other media users to become virtually faceless for aesthetic, fetishist or resistance purposes
The event attempted to re-frame the discussions around borders, looking at how borders are strengthened, shuffled and blurred by global phenomena such as climate disruptions, planetary-scale computation and international politics
Through an analysis of textual and media searches as well as extensive research on paid online advertising, Safiya Umoja Noble exposes a culture of racism and sexism in the way discoverability is created online
For their “Forensic Fantasies” trilogy, KairUs (Linda Kronman and Andreas Zingerle) used data recovered from hard-drives dumped in Agbogbloshie, Ghana to develop works that investigate the issue of data breaches of private information and ask: What happens to our data when we send a computer, an hard disk or any kind of other storage device to the garbage?
Exploitation Forensics is a collection of maps and documents created as a result of investigations conducted in the last few years by the SHARE Lab. The maps will help visitors explore the invisible layers of contemporary technological black boxes and their fractal supply chains, exposing various forms of hidden labour and the exploitation of material resources and data
What aesthetic and political strategies may counter the quest for collecting data and measuring and predicting human behaviour, characteristic of informational capitalism?
“It is perhaps in the post-human space away from ‘the money’ that the blockchain and smart contracts have the most original things to offer.”
Artists and researchers explore, unpack and critque the blockchain
The internet is everywhere. Set free from the websites and the screens, it now penetrates our thoughts and our bodies and everything around us. Each day, the digital and physical become more integrated – but how does this effect our experience and how do we express the new, augmented reality?
Trebor Scholz exposes the uncaring reality of contingent digital work, which is thriving at the expense of employment and worker rights. The book is meant to inspire readers to join the growing number of worker-owned“platform cooperatives,” rethink unions, and build a better future of work
There are many reasons why i wanted to interview Mandiberg. He is an artist whose work i’ve admired for years, the co-founder of the brilliant Art+Feminism Wikipedia Editathon and a dedicated archivist of logos of failed U.S. banks
The reason why i wanted to write about the website of MOMENTUM 9 the Nordic Biennial of Contemporary Art is that it doesn’t look like anything i have experienced before. First of all, it doesn’t seem to pride itself in being user-friendly…
In May, i will be running online classes that focus on activist art and provide an overview of the most inspiring and thought-provoking actions performed and orchestrated by members of the ‘creative resistance’
Joana is an artist and a researcher whose work critically explores the way post-capitalist narratives affect the alphabetization of machines, humans and ecosystems. Her main research topics include Internet materiality, surveillance, online tracking, critical interfaces and language
Since last year, HeK, the House of Electronic Arts in Basel and Swiss art magazine Kunstbulletin have been awarding a prize for “net based” artworks. The prize aims to support works that use the Internet as the site for production and as a medium for distribution
By obfuscating the limited number of emotions offered to you by Facebook, this plug-in allows you to fool the platform algorithms, perturb its data collection practices and appear as someone whose feelings are emotionally “balanced”
Predictive Art Bot invites artists to collaborate with a bot, interpret some of the most puzzling/exciting/provocative tweets and turn them into real prototypes, drafts for impossible projects, live performances, failed experiments, etc.
One of society’s current challenges is that empathy is not communicated efficiently online. The internet was conceived as a tool for empathy but as we know, that’s not what is happening. We need to improve ‘virtual empathy’
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?
Nova and Vacheron’s book explores the impact of algorithms in cultural production. Through a wide range of examples, the main essay, called “DADABOT: An Introduction to Machinic Creolization” presents the contemporary forms of hybridization in music, visual arts, literature, photography, etc.
Among the topics examined are the use of commercial platforms for art practice, what art means in an age of increasing surveillance, and questions surrounding such recent concepts as “postinternet.”
The 11th edition of this festival of unconventional and radical art was anchored into the most banal manifestations of our networked society, one that is made of surveillance, social bullying, aesthetics of power, communication guerrilla and disintegration of the space of free speech and ideas that internet was meant to be
A broad view on media piracy as well as comparative perspectives on recent issues and historical facts regarding piracy. The book contains a compilation of texts on grass-roots situations whose stories describe strategies developed to share, distribute and experience cultural content outside of the confines of local economies, politics or laws
Copie Copains Club aims to highlight the art of copying in the Post-Internet era. Today, the works and their representations circulating on the web become themselves available materials, ready to be replayed by other artists. At a time when production companies and governments toil to outlaw copying, CCC aims to be a space where everyone can freely enjoy the copying
The most compelling part of the day for me was when i discovered the nominees of the Digital Storytelling competition. Because the focus of the selection is as much on new forms of interactivity as it is on strategies to weave a compelling story, all the projects were deep, multi-layered and compelling. Some took me ages to explore. Take the super addictive podcast of the now cult “Serial” for example…
The conference (ridiculously interesting and accompanied by an exhibition i wish i could see all over again but more about all that next week) looked at how practitioners redefine the documentary genre in the digital age. In his presentation, artist James George presented artistic projects that demonstrate how fast computational photography is evolving and how innovations are changing our relation to the image
The Terminator Studies proposes a reinterpretation of the science-fiction series “Terminator,” whose narrative reveals itself as a veritable almanac, prophetic in nature. In analysing the links between history and fiction, “Terminator Studies” poses a critical eye on the domination of machines and the intrusion of surveillance systems in private life
Fully illustrated with images of early computing equipment and the inside story of the online world’s movers and shakers, the book explains the origins of the Web’s key technologies, such as hypertext and mark-up language, the social ideas that underlie its networks, such as open source, and creative commons, and key moments in its development, such as the movement to broadband and the Dotcom Crash. Later ideas look at the origins of social networking and the latest developments on the Web, such as The Cloud and the Semantic Web
The art that Berglin masters to perfection is the good old art of appropriation. He picks up an image, modifies it or not, brings it into a new contexts and gives it a new meaning. The result is a portfolio full of humour, poetry, and absurd comments on our absurd society
This year’s edition of the GLITCH festival in Dublin examines how artists use new media to investigate social and political systems to find their position within and in relation to these larger systems. In this fuzzy zone of information production, where boundaries and roles are increasingly blurred, the exhibition deploys humour and critique to reconfigure our ideas about our current digital economic climate