Lies, Lawlessness and Disbelief 2. An Attempt at Thinking Art and Capital: Unknown Unknowns, is the second of five essays by Canadian artist & critical thinker, Katie McCain. McCain discusses how capitalism has become on the one hand all encompassing and on the other utterly unreal. Arguing that we need to be prepared to think the impossible so that resistance is able to grow.
Marc Garrett writes about Heath Bunting's Status Project in the age of the Netopticon. Garrett considers the worth and social context of humans as data, submersed in frameworks and protocols, designed by a neo-liberal elite for a generic consumer class. Bunting's work is well placed for observation and practical research into the 'depths' of legal and illegal territories, whilst our contemporary identities are being collected on mass as we ride into the maelstrom of constant surveillance.
Revisiting the Curious World of Art & Hacktivism, is the first of a series of articles exploring how contemporary artists engaged with technology and activism are transcending established art behaviours. Crossing over into territories that reflect not only social and political contexts, but new dialogues of experiencing and understanding art. The politics of today becomes the background, the material and canvas of imaginative and critical play.
Lies, Lawlessness and Disbelief 1 is the first of five essays by Canadian artist & critical thinker, Katie McCain. McCain discusses how capitalism has become on the one hand all encompassing and on the other utterly unreal. Arguing that we need to be prepared to think the impossible so that resistance is able to grow. "If it is permitted that both the universe and capitalism are contingent, and therefore completely indifferent to human existence and human thought, then the possibility for alternatives opens up."
"The United States loses more American lives to patient safety incidents every six months than it did in the entire Vietnam War." Edward Picot introduces The Last Collaboration an art documentary book by artists and poets Martha Deed and Millie Niss. This work is a construction of Millie’s hospital experiences in the last hospital she ever visited.
Drawing on POEX65, a cross-disciplinary and POetry EXperimental event that took place in Copenhagen, December 1965 Morten Søndergaard asks how we might define the modalities and methodologies needed to reactivate the unheard avant-gardes.
Patrick Lichty's article explores shifts toward new forms of sociopolitical dissent. Such as cellular forms or resistance including asymmetrical warfare like global insurgencies, the use of social media. Examples would be Twitter and Facebook in their ability to lens dissent for actions in Syria, Egypt and Tunisia, Wikileaks and its ability to mirror, and politics that use anarchistic forms of collective action such as the Occupy Movement, what he calls an amorphous politics of dissent.
This is a collection of artworks, texts and resources about freedom and openness in the arts, in the age of the Internet. Freedom to collaborate – to use, modify and redistribute ideas, artworks, experiences, media and tools. Openness to the ideas and contributions of others, and new ways of organising and making decisions together.
Roberta Buiani writes about the young artist 'Luca Lo Coco', who found himself at the center of an attack initiated by the director of Flash Art, Giancarlo Politi himself. Lo Coco critiqued the commercial artworld circus, for lacking authenticity, social values and artistic integrity. He created a pesky doppelgänger of the Flash Art website at www.ashartonline.com, replacing the original content with is own artwork. The site also existed as a platform for others to share their own critiques and observations concerning the arts establishment. This ended with Lo Coco having to close the site down after 6 months, as well as losing all of his home furniture when he had no money to pay for the hefty fine imposed on him by the courts.
The first of a brand new series of Mathias Jansson's study of Videogame Appropriation in Contemporary Art. This article explores the videogame Tomb Raider and Lara Croft, using Anne-Marie Schleiner's question as it's central theme, "Does Lara Croft Wear Fake Polygons?" asked in a gender analyse essay published in 2000 in the Switch magazine. Including examples of works by artists who have appropriated, intervened, hacked and critiqued this popular videogame character.
The Games for Cities programme is hosting the first international conference with leading ‘city-game’ design experts from around the world. Games for Cities is an initiative started by Play the City...
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