Featured image: Ein Identity-Workshop mit dem britischen Künstler Heath Bunting. Vertiefung Mediale Künste, Sihlquai 131, 8005 Zürich. Dienstag,

Introduction.

Whether Bunting is climbing trees, skateboarding, canoeing or working with technology he approaches it all with the same critical attention. He hacks around systems, physical or digital. Right from when he built his first computer at the age of 14, his life has been an experimental research project. His practice consists of a dry sense of humour and an edgy, minimal-raw aesthetic, mixed with a hyper-awareness of his own artistic persona and agency in the world, whilst engaging with complex political systems, institutions and social contexts.

Even though the subjects he explores are likely to be the most topical or important issues of the day, it always includes playfulness and an element of the prankster in his work. His work regularly highlights issues around infringements on privacy or restriction of individual freedom, as well as contexts concerning the mutation of identity, our values and corporate ownership of our cultural/national ‘ID’s’, as well as our DNA and investigations into Bio-technologies. In an age where we are submersed in frameworks and protocols designed by a neo-liberal elite for a  generic consumer class, Bunting’s work is well placed as observation and practical research into the ‘depths’ of legal and illegal territories in our contemporary, networked cultures.

The Status Project.

“our identity is constructed as human beings that can possess one or more natural persons and control one or more artificial persons. The higher up in the class system the better the access to status variety.”(Bunting)

The Status Project, is a study of the construction of our ‘official identities’ and creates what Bunting describes as “…an expert system for identity mutation”. His research explores how information the public supplies in their interaction with organisations and institutions is logged. The project draws on his direct encounters with specific database collection processes and the information he was obliged to supply as a public citizen to access specific services; this includes data collected from the Internet and information found on governmental databases. This data is then used to map and illustrate how we behave, relate, choose things, travel and move around in social spaces. The project surveys individuals locally, nationally and internationally, producing maps of “influence and personal portraits for both comprehension and social mobility”.

The use of data in contemporary life has made individuals an accessible resource for commercial and political interests. We are a rich source of data-mining material. Data mining is a process that potentially commodifies our interactions. Its historical roots lie with the development of artificial intelligence (AI) and 20th Century statistical analysis. These two methods of formulating data have grown ever closer together, backed by corporations and government-initiated military funding. Social networks such as platforms like Facebook and Internet networked institutions such as Google and the US military are all obsessed with our behaviours online. A good example is the NSA’s recent rebirth in turning most of its surveillance apparatus to spy on the US and its citizens. They have built a supercomputer tracing through billions of people’s emails, phone calls, and online activities in other countries outside of the US. The UK government is currently going through the political process of trying to implement similar spying protocols and systems to watch what UK citizens are up to.[2]

“Google suffers from data obesity and is indifferent to calls for careful preservation. It would be naive to demand cultural awareness. The prime objective of this cynical enterprise is to monitor user behaviour in order to sell traffic data and profiles to interested third parties.” [3] (Lovink)

Bunting is a Hacktivist Artist, acting (playing) out the role of a spy collecting and observing data content. Hacktivist Artists work with technology to explore how to develop their critical and imaginative practice in ways beyond the frameworks of the art establishment and its traditions. The established art arena is gradually catching up with this kind of artwork. However, one could be forgiven for thinking that many art critics and galleries are still caught in the 20th Century.

Two other artists also working on people’s data are Julian Oliver and Danja Vasiliev. They have collaborated on exploring alternative identities as the mysterious group, Men in Grey.[4] They detect online users’ vulnerabilities by tapping into and intervening in wireless network traffic – observing, tracing and copying user online activities. It is then redisplayed online on their website for others to view or transferred onto a visual screen on the side of a briefcase as an intervention in cybercafes for all to view. Although, no one knows other than themselves if the data is hacked and then redisplayed on these briefcases, as proposed in their video featuring one of their interventions. One thing is for sure – they have touched upon issues concerning our fears about personal data being seen by other people who we’d prefer were not viewing it.

The Status Project also taps into questions concerning technology, hierarchy and power. We are entwined in a complex game where the sacrifice of our information is part of connecting with others across digital networks. This raises the issue of our ‘human’ status being aligned ‘to and as’ objects of measurement. Through travel ports, our vehicles, passports, ID cards, library cards, mobile phones, alongside information about our health. We have mutated into networked (information-carrying) beings. Bunting’s own position on this matter is that “Technology is becoming more advanced and the administration of this technology is becoming more sophisticated, and soon, every car in the street will be considered and treated as persons, with human rights. This is not a conspiracy to enslave human beings, and it is a result of having to develop usable administration systems for complex relationships. Slaves were not liberated because their owners felt sorry for them; slaves were given more rights as a way to manage them more productively in a more technologically advanced society.”[5]

In the UK, in 2006 a research document called ‘A Report on the Surveillance Society For the Information Commissioner’ was published. Produced by a group of academics called the Surveillance Studies Network. This report was presented to the 28th International Data Protection and Privacy Commissioners’ Conference in London, hosted by the Information Commissioner’s Office. The publication begins by saying “Conventionally, to speak of surveillance society is to invoke something sinister, smacking of dictators and totalitarianism […] the surveillance society is better thought of as the outcome of modern organizational practices, businesses, government and the military than as a covert conspiracy. Surveillance may be viewed as progress towards efficient administration, in Max Weber’s view, a benefit for the development of Western capitalism and the modern nation-state.”[6]

We are not only under surveillance by entities we do not trust, we are also tracing each other online. Recently, in a show called ‘Being Social'[7] at Furtherfield’s new gallery, artist Liz Sterry showed her installation piece, ‘Kay’s Blog’. Sterry had “collated not only one form of online social engagements but all she could find about a Canadian blogger called Kay. Using everything from photographs to things Kay has mentioned in videos, blogs and posts on social networks, Sterry has recreated Kay’s bedroom in the gallery.”[8] (Scott)

“”There were times when I felt quite creepy,” says Liz, 28, as she shows me lists of Kay’s Facebook friends and a Google Streetview of her apartment block while a playlist of her favourite songs plays in the background.”[9]

Yet, as this ever-creeping surveillance culture grows and attaches its all seeing eyes onto us all. Whether we are referring to domestic interactions, organizational or deliberate, this is not the main issue. Neo-liberalism has developed so much now, we are all part of the Netopticon. English philosopher and social theorist Jeremy Bentham in the late Eighteenth Century designed the Panopticon. It allowed officers in institutions, particularly in prisons, to observe (-opticon) all (pan-) inmates without them knowing whether or not they are being watched. In the end it was not built, but the French philosopher Michel Foucault in his publication Discipline and Punish: The Birth of the Prison,[10] in 1975 said that we are not only monitored in prisons, but in all hierarchical structures like the army, schools, hospitals and factories. This process has evolved through history to resemble Bentham’s Panopticon. The up-dated version of Panopticon, can now be thought of as the Netopticon – where individuals are complicit in feeding their own forms of collective co-surveillance, as well as being traced by corporations, governments and spammers.

“What your data body says about you is more real than what you say about yourself. The data body is the body by which you are judged in society, and the body which dictates your status in the world. What we are witnessing at this point in time is the triumph of representation over being. The electronic file has conquered self-aware consciousness.” [11] (Critical Art Ensemble)

So far, for the project he has created a functioning, sketch database of the UK system with over 10,000 entries – made over 50 maps of sub-sections of the system to aid sense of place and potential for social mobility. Bunting says he is also researching how to convert his identity generating software into a bot recognised under UK law as a person “covered by the human rights act i.e. right to life and liberty; freedom of expression; peaceful enjoyment of property. I am very close to achieving this.”

This bring us to another part of the project what I call ‘Identity Kits’, and Bunting calls ‘Synthetic off-the-shelf (OTS) British natural person’.[12] These kits consist of various items, personal business cards, library cards, a national railcard, t-mobile top-up card, national lottery card and much more. They take a few months to compile each of them because they are actual items that everybody uses in their everyday lives, involving evidence of identity. There is also a charge for the package of 500.00 GBP, which is cheap for a new identity.

Bunting stresses that these UK identities are lawful and that there is no need for any official consulting or permission from an authority to use or make them. Through this he intends to illustrate a precise codification of class in the UK system. Currently, he defines three classes of identitiy: human being, person and corporate. What class of individual you are places you into categories of evaluation, this process allows others to judge your status, worth and value, within a hierarchy, which is clearly represented in the status maps.

This work touches on issues around our everyday status as a critique, but also as an investigative hack, and plays around with the quagmire of inequality currently in the UK. Inequality is built, constructed into the fabric our societies as an accepted default, through tradition, social or mechanistic, holding in place societal divisions. If there was a status project made in other countries reflecting their own status, worth and value of citizens there would be clear links defining where the connections and divisions lie, between each culture. In fact, another project worth mentioning here is ‘The Spirit Level: Why More Equal Societies Almost Always Do Better’. [13] The authors Richard Wilkinson and Kate Pickett have done their own ‘extensive’, detailed research in highlighting through many different graphs, mapping out inequality around ther globe.

“We know there is something wrong, and this book goes a long way towards explaining what and why.” [14] (Hanley)

Bunting’s work expresses a discipline conscious of agency, autonomy and enactments for self and collective empowerment. Hacking different routes around what at first is seen as too big to deal with, lessens its power and awe. Like Burbank in the ‘The Truman Show’, what we have been told is not real. Bunting knows this instinctively, and is on a quest to upturn each stone to see what lies beneath. But at the same time these facilities created to crack the social, and data orientated codes, are shared. He then leaves the paths he has discovered wide open for others pass through, as we all struggle to survive the ever creeping strangle-hold, of the Netopticon.

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This article was written for and will be published as part of Heath Bunting’s presentation in Athens ‘Workshop How to Build a New Legal Identity’, May 5th 2012.

During the workshop, Heath Bunting will introduce us to techniques and strategies on how to form new identities. The distribution of the workshop How to Build a New Legal Identity across Europe aims at exploring the characteristics of identity in each country.

Artist’s Talk: May 4, 2012 @ 19.00

Workshop How to Build a New Legal Identity: May 5, 2012 @ 12.00

Frown Tails, 6 Paramythias str, Keramikos, Athens
Organised by: Katerina Gkoutziouli and Frown Tails

http://www.frowntails.com/heathbunting.html

Featured image: Environmental Risk Assessment Rover – ERAR – AT (2008) Mobile, Solar Powered, Networked Installation Off the Grid, Neuberger Mus

Refusing to regard technology merely as a tool, Ecoarttech expand the uses of mobile technology and digital networks revealing them to be fundamental components of the way we experience our environment. Their most recent work Indeterminate Hikes + (IH +) is a phone app that maps a series of trails through the city. IH + can be accessed globally, or wherever users have access to Google Maps on their mobile phones. After identifying the users’ location, IH + generates a route along random “Scenic Vistas” within urban spaces. Users are directed to perform a series of tasks along the trail and provide feedback in the form of snapshots generating an ongoing, open-ended dialogue.

But the experience of their work is primarily an encounter with technology. Since 2005, Leila Nadir and Cary Peppermint of Ecoarttech have been engaged in an artistic exploration of environmental sustainability and convergent media. By drawing our attention to the increasing replacement or mediation of physical experiences by technology, Ecoarttech challenge the widely reproduced distinction between nature and culture. They present their work in the form of videos, digital networks, blogs, performance and installations. Their early video-based work (Wilderness Trouble and Frontier Mythology) plays out a performative and ironic encounter with the natural environment as a historically constructed concept. In the summer of 2005 Ecoarttech made A Series of Practical Performances in the Wilderness (2005) a database networked performance in QuickTime (DVD and Podcast). The short clips document what Ecoarttech ironically describe as “the experiences of two New Yorkers embarking on their first four months in the woods“. Their objectives were nothing short of

…establishing a functional home without running water, electricity, or maintained roads; developing relationships with locals; un-learning the romanticization of nature while re-learning humanity’s dependence on the environment for survival; and researching the details of the history of the land and the surrounding area.

Sophia Kosmaoglou: The confrontation with the concept of “wilderness” appears to motivate much of your work to date. How did A Series of Practical Performances in the Wilderness begin and how did you fare?

Leila Nadir and Cary Peppermint: About eight years ago, we were very fortunate to acquire a primitive cabin on 50 acres of wild, wooded land, and the experiences we had there changed us completely. Each time we drove from NYC to our “camp” as the locals called it, we were immobilized for about 3-4 days, hardly able to move our bodies as our nervous systems screeched to a halt, adjusting to the quiet. We found a freedom in the woods that we couldn’t find the city – the freedom to take up space, to play, to be quiet, slow, and still. We were also amazed by how some people in the country could seemingly live more independently from bloated global economic systems, growing their own food, chopping their own fuel, harvesting solar energy. They interacted directly with the natural environment whereas we had spent our entire lives ecologically infantilized by overdependence on the industrial grid. We began spending several months at a time at our cabin in the woods: A Series of Practical Performances in the Wilderness is a document of our environmental adventures at that time. It was our first attempt at making art in remote, wilderness spaces. It was a sort of performance of ecological/cultural collision.

SK: How did this experience inform your subsequent work?

LN & CP: As we began to study environmental theory, we realized that not only does little “true” wilderness actually exist, the myth of wilderness was used to obscure the history of indigenous people living on the North American continent. Our own land, we learned, had once been a pasture and had been logged numerous times. Coming to terms with the fact that we hadn’t really retreating to “nature” was the focus of our video Wilderness Trouble which attempts to imagine a new kind of environmental ethics that includes urban and electronic spaces and modern networked culture. However, we still believe that wilderness provides a lot of imaginative potential. Amazement at sublime landscapes can provoke an emotional response that can be politically motivating, and we have tried to take advantage of that potential in our smartphone app Indeterminate Hikes +. By importing the rhetoric of wilderness into everyday life through Google-mapped hiking trails, the app attempts to inspire a sense of ecological wonder at usually disregarded spaces, such as city sidewalks, alleyways, and apartment buildings. We wanted to see what would happen if a walk down a sidewalk were treated as a wilderness excursion. What if we consider the water dripping off an air-conditioner with the same attention that we give a spectacular waterfall in the wilderness?

SK: There is a recurring effort in your work to question the opposition between environment and technology, which is usually accompanied by an ironic undercurrent in your narration and editing that acknowledges what you call “cultural collision”. In Google is a National Park and Nature is a Search Engine which is also part of a series of performances called Center for Wildness in the Everyday (2010), itself conceived as an ecosystem, you suggest that an “environment” is a network of relationships common to natural as well as technological systems, whether it is the ecosystem of a river estuary or Google. Do you see this as a sustainable analogy or a productive contradiction?

LN & CP: Part of what we find frustrating about a lot of environmental thought is that it either wholly rejects technology as the cause of ecological crises so our only solution is to go primitive or wholly embraces technological progress as a saviour, which often means we have to trust in corporate and scientific innovation to lead the way. We think there is another way. We see humans as essentially technical beings: human-animals literally cannot survive without technics. The U.S. military survival guide comes right out and admits that your situation is pretty hopeless if you are stranded in the wilderness without at least a knife. If technology is part of who we are – and we find Bernard Stiegler’s work helpful for thinking this through – then we have also evolved with technology. We are not the same sorts of humans as, for example, Leila’s great-grandmothers in Slovakia or Afghanistan a century ago. The question, then, is not, Yes or No to Technology, but rather, How do we engage technology sustainably and in a way that supports creativity and freedom? And if human beings are technical beings, relying on nature and culture simultaneously, is it even possible to distinguish between what’s natural and what’s not? Isn’t our sustenance dependent upon not only our biological needs (clean air, water and food) but also our cultural practices, beliefs, and imagination? This is why we find it essential to think about electronic spaces and digital technologies whenever we think about the “environment.”

The installation called Google is a National Park and Nature is a Search Engine, a work that is part of a series of performances called Center for Wildness in the Everyday commissioned by the University of North Texas. Our task for this commission was to create a networked artwork about the Trinity River Basin, the source of water for the Dallas/Fort Worth metroplex. In the image, the Trinity River looks like a space of natural refuge but the scientists we worked with there explained that the River’s flow is guaranteed only by the recycling of waste water at treatment plants. We wanted to create a work that juxtaposed this hidden constructedness of “nature” with the more obvious man-made Google – two processes or entities that we rely on everyday for our ecological sustenance: water management and online information.

SK: In 2008, you made the Environmental Risk Assessment Rover, a solar-powered module, which gathers and projects information regarding threats in the immediate environment. Although the ERAR is a sizeable aggregate of equipment that is carted around in a wagon, it seems to be the precursor to handy mobile phone apps. How does the ERAR work?

LN & CP: This project is part of our ongoing engagement with science – especially environmental science, which is also a focus of our 2009 work Eclipse. When you work at the crossroads of art and science, as we do, there is often an assumption that the role of the arts in this interdisciplinary exchange is to visualize or communicate knowledge produced by scientists. In contrast, ERAR asks what we learn when science breaks down – or when we use science to “interrupt” experience rather than to predict behaviours. The project arose out of our observations of the U.S. Department of Homeland Security’s handy yet arguably useless colour-coded terror alert system launched post 9/11 and our experiences with what risk theorist Ulrich Beck calls “science’s monopoly on truth”. Somewhere Beck writes that cows can turn blue next to a chemical plant, but unless science actually proves that the chemicals are the cause of the blue, nothing will be done about the situation. So although other forms of knowing might tell us that the plant is a public health risk, there is nothing we can do until Science “proves” a direct causal relationship. The Rover collects real-time risk data relative to its GPS coordinates, such as car or subway accidents, air pollution levels, violent crimes, proximity of superfund sites, and ground water toxicity, and then determines the aggregate local threat level through a 14-tiered alert system, ranging from “Holiday Shopping” and “Plastic Bags” to “Girls Gone Wild” and “Ask Your Doctor”. Obviously there is a bit of Dada in this work – but not Dada as simple chaos, as it is popularly invoked, but rather Dada as a shocking exposure of the limits of modern reason at the same time as it brings to the surface something that many of us have repressed from consciousness: the subliminal knowledge that there are ways of knowing the world that come from non-scientific experiences and observations. This tension between scientific expertise and everyday experience is also at play in our recent work #TrainingYRHuman.

SK: Have you considered launching it as a phone app?

LN & CP: The ERAR was our first truly mobile work, and it would probably make an interesting phone app – however, the public spectacle it creates is integral to the effectiveness of the work. Pulling around a wagon of technological parts that beams alerts onto the side of buildings is an art action and an effective conversation starter.

SK: Social networks and mobile phone app technology have rapidly become established means of communication and art galleries currently employ these technologies conventionally to replace audio guides. Your current work explores social networks and phone apps as potentially innovative platforms for art. Indeterminate Hikes + (2012) and #TrainingYRHuman (2011) can be accessed in diverse contexts and within everyday activities. They address a broad public, providing a plurality of entry points without necessarily being identified as art. How has the public responded to these projects so far and how do you hope to see them pan out in the long-term?

LN & CP: What motivates us most about working with new technologies is how they can be misused for unexpected purposes. Smartphones, generally, are deployed as devices of rapid communication and consumerism, to get you what you want and where you want as quickly as possible. Our app Indeterminate Hikes + reappropriates this mobile technology for a very different end, turning smartphones into tools of environmental imagination and meditative wonder. It transforms ubiquitous computing into an opportunity to notice the happenings occurring all around us in our local environments, to see sublimity in our backyards, alleyways, streets and neighbourhoods. Like many of our works, this is also a way to aesthetically pose an alternative to environmentalism’s frequent anti-media stance and to popular culture’s uncritical embrace of technology. We want to dream new ways of being without falling into prescribed behaviours or reactionary responses, whether with the food we eat, the technologies we interact with, or the environmental relations we imagine. Foucault’s call for the creation of “gay style” as an antidote to heteronormative culture has always resonated with us in our attempts to rethink dominant ways of being: what is the space of freedom in which one can intervene and express oneself, invent, upend? The mood after our public indeterminate hikes is often euphoric, and participant-hikers comment that they see the world anew. If enabled to be, smartphones can be a platform for chance operations, which, as Allen Kaprow explained, can create “near-miracles”: “when something goes ‘wrong,’ something far more ‘right,’ more revelatory, has many times emerged”. Our app can be used anywhere, any time, by anyone who has an Android phone or who attends our performances, so hopefully there will be many people misusing their smartphones and taking wilderness hikes in the wrong places for a long time. An iPhone version will be released this spring/summer 2012.

#TrainingYRHuman, a work-in-progress, is a participatory Twitter-based net artwork about the agency of animals who live with human-animals as well as an attempt to speak back to science’s monopoly on truth. In recent years, a burst of scientific research has illuminated animals’ behaviours, ethical attitudes, modes of cognition, and psychological awareness, yet usually when we read news of this work, we think: Were all those scientific tests really necessary to figure out that a certain animal species has feelings? Many people who work and live closely with animals already had abundant anecdotal evidence to support the fact that nonhuman animals have diverse personalities and creative problem-solving skills, that they think, feel, and are conscious. #TrainingYRHuman is a gesture toward bringing those anecdotes into the public record, toward creating a sort of oral history database of animal-agency stories that usually only circulate subliminally in our informal conversations. At the same time, it is a moment for human-Tweeters to imagine what it’s like to be a nonhuman animal, inventing unique ways to express oneself and meet one’s needs and desires in a human-dominated world.

SK: There are multiple registers and modes of address in your work and an ambiguity regarding the speaking subject. To an extent, this is because there are two of you, but you also construct voices and use various techniques to create further ambiguity around your agency. Can you elaborate on your strategies of collaboration and decision-making and how these relate to the tension and displacement that you create between the cultural and the technological, the physical and the digital, the artistic and the scientific, the collective and the individual?

LN & CP: Our primary collaborators are each other. Though we have a division of labour, we don’t have a conscious strategy of how we work conceptually, perhaps because we fell into making art together organically, out of collaborating on life. Ideas emerge for us out of an ongoing, sometimes unconscious, sometimes over-analytical, conversation that meanders through the digital/physical places we inhabit, whether we are in our studio or the kitchen. Whose idea it was to add orange juice to our hummus recipe or who came up with facilitating alter-wilderness hikes via smartphones is impossible to figure out. We are committed to an experimentality in process that involves interaction, exchange, exposure, and research that can take advantage of the energy created by blurring the lines between self and other. Proprietary works and the myth of the “genius” artist are detrimental to emerging modes of working, especially with regard to new media art production. Lately, animals have been a significant part of this process for us, shaking up our stale human behaviours and assumptions, especially the cows, sheep, and pigs we visited recently at the Farm Sanctuary in Watkins Glen, NYState, and the birds of prey we met through a local bird sanctuary called Friends with Feathers.

We can’t really say with authority whether our extended collaboration relates to the ambiguities of our artworks. However, we do try to welcome the breakdown of categories like digital, physical, human, nature, and animal as well as media, disciplinary, and environmental boundaries. What really is a “human”, and why has there been this historical obsession with somehow distinguishing humans from animals, as if we are somehow specially different from every other animate being on earth, more evolved and complex? As eco-critic Timothy Morton said recently, “According to evolution science, there are two things humans do very well, but they are a bit of an ego blow: throwing and sweating. Everything else is also done by nonhumans, including consciousness, feelings, art, tool use”. So we are simply sweaty throwers who think very highly of ourselves! It seems to us that the effort to hold tight to definitions, to reliable knowledge, or to the self blocks the more interesting conflations that happen (or are already happening) when we let categories slip away. Therefore, rather than try to determine, define, and predict in our art, we are more interested in staging fluid experiences that ask difficult questions and interrupt our sense of certainty. When assumptions fail, things fall apart, and we can’t depend on what we think we know, that is when our most creative thinking takes place. These are exciting, experimental moments.

Leila Nadir and Cary Peppermint founded Ecoarttech in 2005. They teach Video Art and Sustainability Studies at the University of Rochester in New York and they work with a range of institutions, including the Whitney Museum, Turbulence.org and the University of North Texas. They have exhibited at MIT Media Lab, Smackmellon Gallery, European Media Art Festival, Exit Art Gallery and the Neuberger Museum of Art. In June 2012, they will be artists in residence at Joya: Arte+Ecología, an off-the-grid residency program based at Cortijada Los Gázquez in Parque Natural Sierra Maria-Los Velez in Eastern Andalucía.

Featured image: Artist Suguru Goto discusses his work.

London 2012: there is of course one event which springs to mind when we think about this city and the year we’re in, but there is also another significant event happening in London right now, one which is very important for the digital and media arts world. It is the year that Watermans Arts Centre is holding the International Festival of Digital Art 2012.

As well as showcasing an array of digital art by internationally renowned artists, the programme also offers the opportunity for members of the public to get involved in discussions around themes that the Festival touches on through the seminar series accompanying the shows. These are in collaboration with Goldsmiths, University of London. Nearly three months in, the Festival has launched two exciting shows,Cymatics by Suguru Goto and UNITY by One-Room Shack Collective.

The first show, Cymatics, is a kinetic sound and sculpture installation that expresses Goto’s vision of nature. To enter it, the audience step through a door into a boxed, dark room within which they are presented with a touch screen interface, a shallow metal tank holding water and a screen showing a video feed of the water in the tank. The piece invites the audience to move the water in the tank by manipulating sound waves via an interactive screen. The result of the interaction is a stunning variety of geometric shapes, demonstrating the distortion that sound waves can have on a substance. This occurrence reveals the bridge between technology and nature, which fits into Goto’s re-occurring theme within his work of the relationship between man and machine.

The seminar which coincided with the show, Interactivity and Audience Engagement, was chaired by Régine Debatty and featured on the panel Tine Bech, Graeme Crowley and Tom Keene, all who which explore audience engagement in different ways within their work. Tine Bech is a visual artist and researcher whose installations invite audiences to engage in playful interactions, from chasing a motion reactive spotlight in Catch Me Nowto sound triggering shoes in Mememe. Tom Keene is an artist technologist whose focus intersects participation, communication and technology. His work is multidisciplinary, investigating the way we communicate, mediated by technology. His practice is diverse, from exploring the potential relationships between networked everyday objects in Aristotles Office to inviting a community to comment on their local issues through signs in Sign X Here. Graeme Crowley is a designer and artist who has created installations for prominent public areas, including The Wall of Light, commissioned by Arrowcroft Plc for the centre of Coventry and Spiral/Bloom commissioned for a hospital in Rochford by the NHS.

I found the juxtaposition of these three practitioners very interesting as each of them explore the interaction between audience and technology in varying ways. Bech’s work is very tactile and sculptural, almost making people forget the technology behind it. She likes to look at technology as something we can mould and which can be used to explore the wider issues which art can bring up, rather than just focussing on the tech itself and how ‘shiny’ (to use her own term) it is. In contrast to this, within Keene’s practice technology feels very prominent, visually as well as conceptually. Crowley’s focus is different again as it mostly operates within the commercial sphere. It therefore is produced for greater public consumption and needs to withstand being a permanent exhibit, becoming part of the architecture it is planted on rather than something which is temporary. The talks given by each panel member and discussions which accompanied them were all diverse and brought up interesting points around the idea of audience engagement and interactivity. Members of the audience entered into these discussions with ease, creating an open dialogue which itself was participatory and engaging.

UNITY, by One Room Shack is the current exhibit as part of the International Festival of Digital Art 2012, bringing a piece of work to the gallery which aims to embody the Olympic spirit, visually as well as conceptually.

Design for Unity

The installation takes the form of a transparent maze, angular in its structure and illuminated with different coloured LED lights in each section. Each illuminated section of the structure forms a different letter, all together spelling the word ‘unity’. As the audience navigate their way through the installation, their movement is picked up by motion sensors, triggering the LEDs at each point to turn on. These each represent a particular colour of the Olympic rings.

The ideologies of the Olympic Games linked with an immersive space explores the value of ‘being together’, something which the African humanist philosophy Ubuntu also speaks about.

UNITY is effective in exploring the theoretical concepts embedded within it through a playful and simple interactive structure. As an individual you step from section to section with the different groups of LEDs individually illuminating you as you go through the work. When a group of people interact with the piece at the same time however, the piece lights up as a whole, echoing the values of being together that UNITY invites us to explore. It is through enabling this experience, that the work celebrates and explores human connections.

I do find it interesting how the piece has such a strong stance towards the more idealistic ideologies of the Olympics, especially when taking into account the anti Olympics sentiment present in London. The event does bring people together, but unfortunately as we’ve seen in East London and also at previous Olympic locations across the globe, they also have the ability to put local communities at risk through rising rents and eviction [1]. UNITY looks at ‘…understanding the implication of UNITY on humanism in a neo-liberal world where hyper-capitalism and love of excess trump compassion and selflessness.’ [2] but in reality, the Olympics have unfortunately become something which arguably embody these traits. This said, I do think that UNITY is an incredibly beautiful piece in its visual execution and that its interaction compliments the theoretical idea which it is looking to address.

I look forward to the remainder of the International Festival of Digital Art 2012 and the eclectic ideas within media and digital art which the programme explores. I interviewed Irini Papadimitriou, Head of New Media Arts Development at Watermans, about the Festival:

Emilie Giles: First of all, can you tell us what the premise is behind the International Festival of Digital Art 2012?

Irini Papadimitriou: The idea behind the Festival started from a decision to develop a series of shows that could form a discussion rather than being one-off exhibitions and help engage more people in the programme. In the last year we have been focusing more in participatory and/or interactive installations so I thought it’d be interesting to dedicate this project and discussions in exploring more ideas behind media artworks that invite audience engagement as a way of understanding our work in the past year.

Since this was going to take place in 2012 we felt it would be necessary to open this up to international artists so this is how the open call for submissions came up last year. We received so many great proposals it’s been very hard to reach the final selection, but at the same time the opportunity of having a year-long festival meant we could involve as many people as possible and hear many voices not only through the exhibitions (this is just one part of the Festival) but also with other parallel events such as the discussions, presentations of work in progress by younger artists and students, the publication, a Dorkboat (coming up in June with Alan Turing celebrations), as well as collaborations with other organisations or artists’ networks and online.

EG: Touching on your last answer, the Festival has a clear aim then to engage people in discussion rather than just being viewers of a show. Do you think that within media and digital art there is a particular need for this approach?

IP: I think that hearing people’s thoughts and responses and enabling discussion is important for all exhibitions and art events but specifically for the Festival (since the aim is to question & explore audience participation). It was very relevant to hear ideas and views from other artists, technologists, practitioners etc but also audiences, rather than just the participating artists.

Also, and this is my view, I think as media and digital art use technologies that many of us are not particularly familiar with or if we use technologies it will be most probably as consumers, it’s important to talk about and discuss the process (as well as impact of technologies) both for the artists as well as for audiences.

EG: The themes chosen for the programme are diverse and each relevant to media and digital art in their own way. What are the reasons for each focus and why?

IP: The themes explored in the Festival result mainly from the selected proposals and discussions with the artists. There were so many things to talk about so having these themes was a way to start from somewhere and help understand better the installations shown throughout the year. The seminars that we are organising are an opportunity for the artists to talk about their work and share their ideas with both audiences but also with other artists invited to take part in the panels. It is also a way of discussing these themes and presenting other work that raises similar issues. The seminars are shaped around the themes such as perception and magic in digital art, sound and gesture, geographies, virtual spaces as artistic mediums and of course participation and interaction. We are currently working on a publication with Leonardo Electronic Almanac which will be coming out in the next couple of months and will include essays from artists, academics and students as well as interviews with the artists behind the selected proposals. Again the catalogue has the Festival themes as a starting point but we tried to combine different content and ways of communicating these.

EG: How do the pieces featured in the exhibition question audience engagement, participation and accessibility ?

IP: The artists presenting work are exploring participation and audience engagement in different ways and I think we will have also interesting outcomes from the seminars and the publication which will allow us to explore these ideas further.

In the current installation, UNITY, One Room Shack collective are using the playful structure of a maze (in the form of the word UNITY with each letter lighting up in the colours of the Olympic rings) inviting people to walk inside to reflect and draw upon the complex nature of human reality and ‘difficult’ aspects of human existence.

Michele Barker and Anna Munster who will be showing HokusPokus later on are interested in exploring how we perceive actively in relation to our environment, how we see, what we see and how this makes us ‘interact’. HokusPokus inspired from neuroscience examines illusionistic and performative aspects of magic to explore human perception, movement and senses. The tricks shown in HokusPokus have not been digitally manipulated; they will unfold temporally and spatially, amplifying and intensifying aspects of close-up magic such as the flourish and sleight of hand.

The Festival will close with an installation by American artist Joseph Farbrook, Strata-Caster, which was created in Second Life mirroring the physical world, exploring positions of power, ownership, identity and drawing parallels between virtual and physical worlds. An interesting and important part of the installation is the use of a wheelchair by visitors to enter and navigate Strata-Caster.

EG: How have the 2012 Olympic and Paralympic Games inspired the Watermans International Festival of Digital Art?

IP: As we are trying to explore what participation is we thought it would be an interesting link (rather than inspiration) between the Festival and the Games/Cultural Olympiad since they are meant to symbolise, promote and inspire values like creativity, collaboration, participation, engagement etc. The Festival isn’t about the Olympics and participating artists didn’t have to propose work that linked to the Games, but we did receive many proposals that reflected on the Games, what they represent and the meaning of participation, so some of these proposals are being shown as part of the Festival, such as One Room Shack’s UNITY and Gail Pearce’s Going with the Flow.

It’s a bizarre thing when you stumble upon the “new art movement” filtering through discursive chatter. Is it actually a movement, or is it simply a bunch of like-minded individuals telling me its a movement?

Behold The New Aesthetic then – a new art meme in visual culture whimsically constructed by James Bridle, which manifests itself in a Tumblr blog, a presentation for Web Directions South, Sydney and an original blog post. Recent attention to it has reached feverish proportions coming off the back of a SXSW panel in March and a generally positive endorsement by Bruce Sterling in Wired, plus some group responses on the creators project. More recently, the computational media scholar and philosopher Ian Bogost has posted his own thoughts for The Atlantic.

As a meme should do, “the New Aesthetic” has fulfilled its role – it has a lot of people talking about it. Like any meme which dices visual culture with some sort of research element, it has artists, writers, even media and aesthetic scholars measuring their own opinions on it in rank order without anyone knowing exactly where it’s going, what it really is or who exactly is doing it. In our noisy and crowded “I can’t believe I got 50+ retweets” over-networked epoch, this is quite an achievement even if you don’t take it that seriously.

But here’s the question: can the new aesthetic be more than a meme? More to the point, does it want to be? Is it capable of a direction? Can it be serious?

That said (and as Bridle avers) this isn’t really a prominent “movement” of ideas as such. Neither does it present material which it would deem ‘arty’. Instead, it’s an extremely broad and oblique orientation which seeks to document the subtle (and sometimes explicit) changes within our information saturated existence. It simply contextualises the contingent manifestations of computational activity, and how they are reversing and revising computational and human activities back in on themselves. Bridle’s tumblr simply presents the new aesthetic for what it is, much akin to perusing through pictures in a Facebook profile, a Reddit top ten list or clicking on Stumbleupon – simple snapshots of “stuff” which echo a blurring between the world of networks, machines and everything outside of it (with a particular emphasis on where it goes a bit wrong, hence a certain infatuation with glitchyness). Quoting Bridle’s Tumblr page;

“It is a series of artefacts of the heterogeneous network, which recognises differences, the gaps in our overlapping but distant realities.”

In another video presentation ‘We fell in love in a coded space‘ at Lift12, Bridle terms this ‘network realism’ – instances where the amalgamation of computational networked activity blurs with non-computational activity, to such an extent that it reduces any observer to nothing but a curious, passive node, gleefully whittling through instances of vaguely creative stuff. For Bridle, this occurs not just in industry but also architecture, finance, storage, fashion and now an attempt at aesthetic understanding. It’s an infatuation with the alterity of bots, algorithms, pixels and realised fictions. In this presentation however, Bridle is largely concerned with how one can respond or understand the ‘desires’ of bots, unaware that anthropomorphising the situation may not reap the rewards required. In this interpretation the new aesthetic is charged with the task of asking how we can think and orient ourselves computationally, whether it be designers, thinkers, writers, scholars or artists.

Sterling himself, mostly issues praise with a pinch of amusing impatience, as if the New Aesthetic movement should progress faster than it actually is doing, with more ideas and more focus. Kyle Chayka states that artists are already embracing it as a ‘contextual seedbed, rather than a label’. Jonathan Minard understands it as a new method of reflection concerning cultural tool-making, where the ‘dumb tools’ of machinic interface scream images back at us.

Digital Humanities scholar David Berry has blogged a similar view echoing that the new aesthetic is tapping into what he calls ‘Computationality’, a historical paradigm frame-making of sorts, which constructs specific meaning-making practices. Visualisation revolves around processes and patterns and so the list making exercise of Bridles’s Tumblr blog would seem apt in this regard, as it issues unparalleled amounts of pattern making not just as content, but as form. The archive is a jamboree of other pattern recognising events; security face recognition, retro 8bit encapsulation, satellite visuals and generally messing about with an Xbox 360 Kinect. James George mentions something similar but suggests that the new aesthetic should question the critical distance between artistic activity and technological use. It resembles a massive screen dump from a digital artist’s delicious account. Quoting Bridle again in an interview with The Design Observer Group;

“The New Aesthetic is not criticism, but an exploration; not a plea for change, rather a series of reference points to the change that is occurring. An attempt to understand not only the ways in which technology shapes the things we make, but the way we see and understand them.”

To most of the established readers here, it’s easy to criticise the “newness” of the New Aesthetic, in the same way the 90’s trope “New Media” has been quickly bundled away as if it never existed (Marius Watz makes this point). For those of you who have been studying such issues concerning hacking, play, enumeration, collecting, remixing, glitch-ing, (see Rosa Menkman in particular) in the broader realm of the computational arts, there really isn’t anything novel to gawk at: this is more of a rearrange or a rebadge. Indeed, internet discussion has been rife with such criticism, from the triteness of using Tumblr as the ‘official site’, to quick dismissals concerning the New Aesthetic’s distinct lack of any historically serious ‘substantial practice’ – not that it wanted it in the first place (Indeed it’s a pity that it has contingently replaced an identical term for a movement unrelated to Bridle’s own, coined by arts writer Michael Paraskos and realist artist Clive Head. Moreover, depending on how one looks at it, Paraskos and Head’s own movement has similar views espoused by Bridle’s version, including perhaps a direct opposition to conceptualism and foregrounding art as a material practice).

If Bridle were not so sincere about the whole affair, one would be mistaken that this was a too-cool-for-school strategy straight out of a Nathan Barley episode. But thats an easy misread. As Bogost states, Bridle is just curious about the weirdness of the network we all rely on and revel in. But there is a point where fascination with creativity turns into ADHD. The New Aesthetics tumblr site, already does just that, without any hint of standing still. “What’s going to come next? What can we do next? What are the limitations? What happens if I click that? What is that doing there?”

However both Bogost and Greg Borenstein issue a different view about the new aesthetic. They both discuss it in relation to a recent trend in philosophy called Object Oriented Ontology (OOO), a movement to which I am extremely sympathetic to. Bogost explains OOO succinctly enough;

“If ontology is the philosophical study of existence, then object-oriented ontology puts things at the center of being. We humans are elements, but not the sole elements of philosophical interest. OOO contends that nothing has special status, but that everything exists equally–plumbers, cotton, bonobos, DVD players, and sandstone, for example. OOO steers a path between scientific naturalism and social relativism, drawing attention to things at all scales and pondering their nature and relations with one another as much as ourselves.” 

The link to OOO is fairly self-evident. If one of the most prominent aspects of the new aesthetic is an obsession with how a machine “sees” the world, OOO is a commitment to the seeing of things in widest possible sense. But while Borenstein generally aligns OOO to the new aesthetic with exuberant equivalence, Bogost’s view is one of general optimism, but not broad acceptance. For a start, the new aesthetics is based on a continual divide and repair between two opposing realms; the physical and the digital, each coming together and breaking apart endlessly, like throwing a box of magnets.

One of the main stipulations of being an OOO advocate is the realist eruption of what counts as a thing, and how that thing contingently relates to different types of entities. This is why Bogost decenters computation in the new aesthetic, and emphasises the multitude of things that escape the physical/digital divide. Their adventures are always-already strewn across the ontological landscape. One of the other main stipulations involves us lacking secure knowledge in fully understanding discrete units on their own terms – we can never experience their being in the same way we experience our being.

If one has read Bogost’s latest publication, Alien Phenomenology (and if you haven’t, I’d urge you to do so immediately), one would understand Bogost’s view that the new aesthetics misses out not just speculating on the hidden lives of objects other than computers and humans, but it also hovers on the inescapable problem of anthropomorphising machines and objects to within an inch of their lives. The alien aesthetics challenge is provocative.

“[T]his Alien Aesthetics would not try to satisfy our human drive for art and design, but to fashion design fictions that speculate about the aesthetic judgments of objects. If computers write manifestos, if Sun Chips make art for Doritos, if bamboo mocks the bad taste of other grasses–what do these things look like? Or for that matter, when toaster pastries convene conferences or write essays about aesthetics, what do they say, and how do they say it?”

There is an interesting discussion to be had in OOO about the usefulness of anthropomorphising the infinitesimal non-human relationships between the properties of things. Whilst others (including Bogost) see it as an inevitable factor of being one finite human entity amongst a crowd of other finite entities, I see it as a hinderance.

In particular, I’m interested in the way the new aesthetic never manages to access computation ‘just’ as it is. It only takes computation seriously when it functions as a qualitatively intelligent system, which meets or surpasses rational intelligence, or, it directly flips into “dumb tools” of (mis)communicative manipulation for the whims of human mental acts.

But I digress. Last year Bridle released a book called “Where the F**k Was I?”, which accurately sums up the mentality of the movement. The really interesting element of the new aesthetic is that it presents genuinely interesting stuff, but Bridle’s delivery strategy is set to ‘gushing disorientation’. At present, it’s the victim of the compulsive insular network it feeds off from. It presents little engagement with the works themselves instead favouring bombardment and distraction. Under these terms, aesthetics only leads to a banal drudgery, where everything melts together into a depthless disco. Any depth to the works themselves are forgotten.

Memes require instant satisfaction. Art requires depth.

The Glitch Moment(um)
Rosa Menkman
Institute Of Network Cultures, 2011
ISBN 9789081602167

Rosa Menkman’s book “The Glitch Moment(um)” is a comprehensive study of the theory, practice and social context of contemporary digital Glitch Art. Glitch Art is similar to the ironisation of the noise of old media into cultural signals seen in Trip Hop and that is the basis for the nostalgic image-making of Lomography or Instagram. But it is based on current digital technology, rather than past analogue technology.

Glitch Art is growing in popularity and critical attention, and is already being recuperated by the mass media (for example in a recent Calvin Klein perfume television advertisement). Analogue glitches have been part of art and popular culture for decades, for example in Nam June Paik’s television-based art or the titular character of the cyberpunk TV show “Max Headroom”. Digital glitches and their simulation featured in the postmodern graphic design of the early 1990s created by groups such as Designers’ Republic. But between a history of analogue media and a future of mass media recuperation there is the current Moment(um) of digital glitch aesthetics that Menkman identifies.

Menkman begins by explaining the basics of Shannon/Weaver information theory as the basis for a theory of what glitches are. In information theory, messages are sent as a signal from a transmitter to a receiver over a channel which is disrupted by a source of noise. This “noise” is the crackle on analogue telephones or on vinyl records, the static on analogue TV and radio, and the corruption that sometimes affects digital images or audio streams (nowadays notably Skype chats).

Where kinds of noise are associated with a particular we can recognise them as particular “noise artifacts”. We can also recognise compression artefacts in digital media such as those seen in over-compressed lossy image and video files (JPEG and MPEG artefacts). These noise and compression artifacts are experienced by the users of communication media as glitches. Menkman describes these phenomena in detail, providing the reader with a firm foundation in the sources and expression of Glitch phenomena.

How artists can deliberately create these phenomena is the subject of the next section of the book. Titled “A Vernacular Of File formats” it is a condensed adaptation of Menkman’s 2010 artwork of the same name. It is a thorough and accessible resource for both understanding the production of and creating visual glitch aesthetics. Each picture demonstrates a technique for modifying the data of an image file format so that a computer can still parse and render the file but it will appear corrupted to a human viewer. Starting with an uncorrupted (but unnervingly contrasty) “RAW” image, Menkman explains the production and principles of corrupted digital images in sufficient detail that the reader can recreate and build on these techniques themself, or use this knowledge as the basis for understanding and appreciating the work involved in the Glitch Art produced by others.

The next two chapters cover the phenomenology and philosophy of Glitch. The theories of Paul Virilio and Alan Liu are usefully deployed here to give Glitch a philosophical grounding. But there is also a recognition that Glitch is an inherently open concept that is difficult to define. Menkman rightly considers the work of Beflix (Ant Scott) as a leading Glitch Art figure. The diversity of Beflix’s work illustrates the problem with categorizing Glitch neatly, or at all. 5VOLTCORE, JODI, and others provide alternative views of what Glitch can be. This builds to Menkman defining “Glitchspeak” as the vernacular, or in possibly the creole, of Glitch Art.

In “From Artifact To Commodity”, Menkman turns to Glitch aesthetics in music, particularly the glitches created through circuitbending, and the precedent this has set for the creation of standardized tools for glitching visual media. As such tools have been created for images, Glitch aesthetics have found their way into the artistic mainstream and into music videos and other mass media. Glitch may be impossible to categorize but it is all too easy to commodify. This marks its emergence as a genre, and Menkman finishes this section by considering Glitch as a recognizable but still problematic genre that relies heavily on spectators’ technical, aesthetic and theoretic literacy.

Having given the reader a solid grounding in the theory, practice and philosophy of Glitch, Menkman finally moves on to its sociology. Using a tool that looks like Gephi but isn’t (Issuecrawler), Menkman models the social network of relationships between Glitch artists that exist on the Internet. Clustering blogs and other Internet expressions by the number of links between them allows the tools of social network analysis to be used, revealing who is central to the Glitch artworld as judged by the clicks of their peers.

Finally Menkman sums up Glitch aesthetics in a section called “The Emancipation of Dissonance Glitch”. Starting with a quote from Jackson Pollock:

“I don’t use the accident. I deny the accident. There is no accident, just as there is no beginning and no end.”

Menkman concludes that “Like the best ideas, glitch practices are dangerous because they generate awareness”. By which point the reader is perfectly placed to understand just how and what kind of awareness Glitch generates, and how they can appreciate or produce Glitch art themselves.

Glitch Art has been long overdue serious critical attention. I cannot remember the last time I read a book that so thoroughly and concisely presented the theory and practice of a contemporary art movement in as does “The Glitch Moment(um)”.

You can download a PDF or order a print copy here

The text of this review is licenced under the Creative Commons BY-SA 3.0 Licence.

Preface:

DoggieWoggiez! PoochieWoochiez! is a new video work (2012) by Everything is Terrible!, a self-described “found footage chop shoppe”. DoggieWoggiez! PoochieWoochiez! is an active catalog which describes, invents and destroys concepts as it arranges video footage into flows of multiple cuts that map the use of dogs in cinema and television. The structure of this review takes hints from the work it overlays. We dispensed with “original” writing and didactic detailing of what we as critics experienced. Instead, we unraveled multiple threads left hanging after watching DoggieWoggiez! PoochieWoochiez! We neglected to offer an appraisal of the worth of the work, and add to the number of words already in the world. Instead, we traced the flows passing through the video and developed a program of citations that provide a map of exit and entrance points-a map, as any map, that is as much about those making as about the territory described-which we hope will provide openings for a reader who has not yet watched the work, and provide expanded intersections for those who already have.

“This is the scenario: You are terminally ill, all medical treatments acceptable to you have been exhausted, and the suffering in its different forms is unbearable. Because the illness is serious, you recognize that your life is drawing to a close. Euthanasia comes to mind as a way of release.”  ¹

“Success consists of simply getting up one more time than you fall.”  ²

“From whatever angle you approach it, the present offers no way out. This is not the least of its virtues. From those who seek hope above all, it tears away every firm ground. Those who claim to have solutions are contradicted almost immediately. Everyone agrees that things can only get worse. ”  ³

“A positive anything is better than a negative nothing.” ⁴

Roadkill: We have a corpse on our backs.

“I think it’s because dog movies and dog footage tends to be the dumbest. It’s like the lowest common denominator amongst everything we’ve found, the most mediocre footage imaginable. I think that was a big motivator, and we just like dogs. It’s a nicer way to deliver horrible things about humanity. Instead of watching people be racist, which makes you feel terrible, you get to watch dogs be racist, and you’re like, ‘That’s a little better.'”  ⁵

“Americans spent $50.96 billion on their pets in 2011. That’s an all-time high, and for the first time in history more than $50 billion has gone to dogs, cats, canaries, guppies and the like, the American Pet Products Association reports. Food and vet costs accounted for about 65 percent of the spending. But it was a service category one that includes grooming, boarding, pet hotels, pet-sitting and day care that grew more than any other, surging 7.9 percent from $3.51 billion in 2010 to $3.79 billion in 2011.” ⁶

“So we have a corpse on our backs, but we won’t be able to rid ourselves of it just like that. Nothing is to be expected from the end of civilization, from its clinical death. In and of itself, it can only be of interest to historians. It’s a fact, and it must be translated into a decision. Facts can be conjured away, but decision is political. To decide on the death of civilization, then to work out how it will happen: only decision will rid us of the corpse.”  ⁷

Description of DoggieWoggiez! PoochieWoochiez! Minutes 2:39 to 2:52

2:39 . Black and white footage of a clothed dog sleeping in hay.
2:41 . Saint Bernard laying on the floor trying to drink champagne out of a bottle.
2:42 . Black and white footage of a dog holding a bottle labeled “Hard Cider” in his mouth and drinking.
2:43 . Dog with bandana sitting at table licking the foam from a beer.
A hand pouring beer into a dish filled with dog food.
2:44 . A club. Multiple young women filling the face of a puppet dog full of liquor bottles.
2:45 . A dog wearing a jersey with the number one peeing on a referee’s ankle.
2:47 . A dog lifting its leg on a pants suit leg.
A bulldog in a spiked collar peeing on a floor mat that says “I [heart] Acting.”
2:48 . A dog peeing on a metal catwalk, shot from below.
2:49 . Jack Nicholson holds a small dog up and away from his chest as the dog pees.
A man lying on a floor is shot below and through a dogs legs, the dog’s urine stream is hitting him in the face.
2:51 . A similar shot, reversed. Another man, wearing a fur hat, is buried to his neck in sand and ice. A dog urinates into his mouth.
2:51 . The same bulldog in spiked collar lifts his leg to pee. A small rocket comes out of from beneath him.
2:52 . A similar shot from the other side, a different dog is urinating flames.

Pointers: Haircut, Ray Gun

“I am for an art that embroils itself with the everyday crap & still comes out on top.”  ⁸

“Trash collection is the business of public sanitation; its recycling, the very height of capitalist alchemy, turns everything into grist for commodification’s mill. But it is also a strategy of aesthetic sublimation that, according to Thomas Crow, is internal to modernism (he has analyzed the cyclical aspect of this in terms of the incorporation of the ‘low’ by the ‘high’)”  ⁹

“Classification in the widest sense is, along with astronomy, probably one of the oldest scientific pursuits undertaken by man. In the most general terms classification is the process of giving names to a collection of objects which are thought to be similar to each other in some respect. The ability to sort similar things into categories is obviously a primitive one, since it would seem to be a prerequisite of the development of language, which consists of words which help us to recognize and discuss the diSerent types of events, objects and people we encounter; each noun in a language is a label used to describe a class of things which have striking features in common. Thus for example, we name animals as cats, dogs, or horses and such a name collects individuals into groups.”  ¹⁰

“I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is.”  ¹¹

“What is it that moves over the body of a society? It is always flows, and a person is always a cutting off [coupure] of a flow. A person is always a point of departure for the production of a flow, a point of destination for the reception of a flow, a flow of any kind; or, better yet, an interception of many flows.”  ¹²

“I am for the art of things lost or thrown away, coming home from school.”  ¹³

“Cluster analysis, also called data segmentation, has a variety of goals. All relate to grouping or segmenting a collection of objects into subsets or “clusters,” such that those within each cluster are more closely related to one another than objects assigned to different clusters. An object can be described by a set of measurements, or by its relation to other objects.”  ¹⁴

“And now, we have to start from scratch with this movie and go through thousands of VHS tapes and find those three minutes and put them in a pile until we have enough to make an hour-long movie. And yeah, it made it harder because we just fucking hate those movies.”  ¹⁵

“Central to all of the goals of cluster analysis is the notion of the degree of similarity (or dissimilarity) between the individual objects being clustered. A clustering method attempts to group the objects based on the definition of similarity supplied to it.”  ¹⁶

“[Claes Oldenburg] quickly saw that it didn’t take anything to make a Ray Gun: any right angle would suffice, even blunted, even barely perceptible. The Ray Gun is the ‘universal angle’: ‘Examples: Legs, Sevens, Pistols, Arms, Phalli-simple Ray Guns. Double Ray Guns: Cross, Airplanes. Absurd Ray Guns: Ice Cream Sodas. Complex Ray Guns: Chairs, Beds. Mondrian didn’t need to reduce everything to the right angle: everything is already a right angle. During the time of The Store, Oldenburg made huge numbers of Ray Guns (in plaster, in papier mache, in all kinds of materials in fact), but he soon saw that he didn’t even need to make them: the world is full of Ray Guns. All one has to do is stoop to gather them from the sidewalks (the Ray Gun is an essentially urban piece of trash: Oldenburg produced their anagram as Nug Yar:New York). Even better: he didn’t even need to collect them himself; he could ask his friends to bring them to him (he limited himself to accepting or refusing the find’s addition into the corpus, according to purely subjective criteria). Finally, there are all the Ray Guns one can’t move- splotches on the ground, holes in the wall, torn posters-but which one could photograph. The “inventory”is potentially infinite. And what should be done with this invasive tide? Put it in the museum.”  ¹⁷

“I am for the art out of a doggy’s mouth, falling five stories from the roof.”  ¹⁸

Description of DoggieWoggiez! PoochieWoochiez! Minutes 2:54 to 3:06

2:54 . A dog and man lay side-by-side. The dog’s legs are up and its belly is exposed to the camera. Voiceover: “Being a thief isn’t bad enough, you have to be a lush too.”
2:56 . A golden retriever puppy faces the camera with a drunken expression. The dogs lips move as he says “That’s the weirdestest grape juice ever.” He laughs.
3:02 . A dog jumps off a large desert rock onto another rock. He yells “Hasta la vista, kitty.” A mountain lion is shown launching into the air.
3:05 . Maniacal laughter is played over footage of a tree frog sitting on the top of a dog’s head.
3:06 . A Weimaraner sleeps under a blanket. Voiceover: “Do dogs dream? She dreams she’s a dear”
A ripple dissolve into the same dog with her head stuck through a tapestry of deer so that it appears that there is a deer with a dog head.

Canis Lupus Familiaris

“Are there Oedipal animals with which one can ‘play Oedipus,’ play family, my little dog, my little cat, and then other animals by contrast draw us into an irresistible becoming? Or another hypothesis : Can the same animal taken up by two opposing functions and movements, depending on the case?”  ¹⁹

“Writing about the dog who befriended him and his fellow-inmates in a concentration camp, and whom they named Bobby, Levinas says that this dog was ‘the last Kantian in Nazi Germany,’ because his joyful greetings reminded the prisoners of their human dignity. Yet, when questioned closely about the ethical status of nonhuman animals, Levinas is reluctant to ascribe to animals that ‘ethical face’ which he elsewhere has called (as Martin calls Sylvia’s face) ‘an epiphany.’ By contrast, says Levinas, the animal face is merely ‘biological,’ incapable of demanding the ethical response. Levinas denies that the dog can have a face in the ethical sense: ‘the phenomenon of the face is not in its purest form in the dog,’ he writes. ‘I cannot say at what moment you have the right to be called ‘face.’ The human face is completely different and only afterwards do we discover the face of the animal.’ In an article subtitled ‘Levinas Faces the Animal,’ Peter Steeves, with gentle irony, stages another face-to-face encounter between Levinas and Bobby, asking the philosopher: ‘What could Bobby be missing? Is his snout too pointy to constitute a face? Is his nose too wet? Do his ears hang low, do they wobble to and fro? How can this not be a face?'”  ²⁰

“We’ve always had a thing with how people treat little people at Everything Is Terrible!, like it’s really weird and creepy. Anybody who’s like a second-class being, when they’re used in videos, it comes across very creepy and gross. I think it’s the same thing with humans and dogs. They’re weirdly sexualized, they’re weirdly turned into little kids at the same time.”  ²¹

“…individuated animals, family pets, sentimental, Oedipal animals each with its own petty history, ‘my’ cat, ‘my’ dog. These animals invite us to regress, draw us into a narcissistic contemplation, and they are the only kind of animal psychoanalysis understands, the better to discover a daddy, a mommy, a little brother behind them (when psychoanalysis talks about animals, animals learn to laugh): anyone who likes cats or dogs is a fool.”  ²²

“I think that’s a big reason why people use dogs the way they do, because I think we kind of hate ourselves so we dress up dogs like ourselves to mock ourselves. So you dress a dog up like a drunk human, and then you laugh at how ridiculous it is, but I think it’s therapeutic. We’re letting off steam about how much we hate ourselves.”  ²³

Description of DoggieWoggiez! PoochieWoochiez! Minutes 3:13 to 3:20

3:13 . A close-up of a shaggy dog who speaks. “It’s not a dream”.
3:16 . A large dog outside a car tells a small dog inside a car, “Bitches ain’t got no business being inside your head” The voice is or is similar to Samuel Jackson’s.
3:17 . A bloodhound with an ice pack on its head also has cartoon dream bubbles floating around it. The woman inside the bubbles says, brightly “Wake up!”
Another dog, turning his head to the camera, says “Who are those jokers?”
Return to the bloodhound, the floating woman says “It’s me, Jan.”
3:20 . A dog dressed as a pauper is grabbed from above and dragged to the side.
A dog wearing a bandana says “Great danes! This is terrible. But what can I do…”
This trails into a golden retriever saying “…I’m a dog.”

Dead Dog: “Eres Lo Que Lees” (“You Are What You Read”)

“What difference does it make if someone is terminal? We are all terminal.”  ²⁴

layla commented: 4-21-2008 9:01 PM “In 2007 Guillermo Vargas Habacuc a so called artist took an abandoned dog from the streets tied him to a very short rope to a wall in an art gallery and left a kettle of food on the other side of the room beyond his reach and left him there to slowly die of hunger and thirst. The socalled artist of such cruelty and the visitors of the gallery of art watched the agony of this animal. The dog finally died of famine surely after a painful absurd and incomprehensible torture. The prestigious Centralamerican Biennial of Art decided that this horrible act committed by this guy was art and Guillermo Vargas Habacuc has been invited to repeat his cruel actions in said Biennial in 2008. i seen this post on facebook and a few pictures of the poor innocent dog starving to death it broke my heart and i had to see if peta was aware of this sick man who thinks this i some great at creation.” ²⁵ 

olivia commented: 5-10-2008 5:35 PM “i hate you. you should be put in the poor dog’s possision. you can’t imagine how many people hate you. almost more than a million. just so you know thats not art. the dog died because of you. you should go to prison because of this. you broke peoples’ hearts. i am really upset at you i could write all day long if i have to because you just waisted a life i wish i could waiste youres!!!!!! do you wish all the animals should die? you just made my day so so so horrible. im going to tell everyone what you just did. just so you know i’m cring. i hate hate hate hate you. you should be ashamed of your self. so listen to this just because you think your all that doesn’t mean that you can kill an other animal. i have 7 animals and you are not going to touch them! that dog did nothing to you. if heshe did doesn’t mean you should kill him! please don’t touch any other animal!!!!!! you suck!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! P.s i hate youuuuuuuuuuuuuuuuuuuuu”  ²⁶

Renate commented: 5-5-2008 1:34 PM “Here’s a thought let’s tie up Guillermo Vargas at one of his own exhibits and starve him to death!”  ²⁷

Rainie M commented: 4-28-2008 2:59 PM “Oh Gods! How can anyone be so bloody heartless? Dead or dying animals are NOT art…things like this only come from sick minds. Is the human race devolving so much that we have come down to this as entertainment? If you want Art go to a Museum . Geez this is just sick…”  ²⁸

Tucker commented: 4-26-2008 10:43 AM “THIS IS DOWN RIGHT UNCALLED FOR DIGUSTINGCRUEL AND THESE PEOPLE NEED TO BE LOCKED UP AND CHARGED BIG TIME!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I AM CRYING SO HARD RIGHT NOW IT IS UNBELIEVABLE WHAT $IN PEOPLE DO TO ANIMALS AND THIS ALL NEEDS TO STOP NOW AND BIG TIME CHARGES AND JAIL TIME NEED TO BE STRONGER AND LONGER IN ALL STATES AND AROUND THE WORLD!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! SAVE THE ANIMALS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!”  ²⁹

Angie commented: 4-24-2008 12:55 PM “I am so sickend by this whole so called art.. I am a artist myself. ! And i think someone need to tie this guy up and not feed him any food and have people watch him starve . Then he will realize how it feels. He gives a bad name to other artist out there!”  ³⁰

yf commented: 4-22-2008 2:32 PM “you know he really shoudl have starved himself and then do a ‘selfportrait’.. much more apt.. silly stupid man.. so pointless.. so banal.. people KNOW what skeletal skin and bones animals look like .. we have seen them.. we know what skeletal starved humans look like too infact.. we dont’ need a dumb dimwit 12 brained idiot to INTENIONALLY starve a dog in ORDER to produce his pointless ‘artwork’.. what a dumb stupid peabrained twit !”  ³¹

Kristin Gleeson commented: 4-22-2008 1:29 AM “Yeah I’ve seen something like this before but what was it? Oh yeah the HOLOCAUST. Thousands of people collected subdued and starved to death. Was that an artistic masterpiece? If you call this art you’d have to call Hitler an artist I mean after all he was trying to make a culturally altering statement as well. It’s not art it’s sadistic immoral and completely disgusting. This poor creature did not deserve this and neither does any other animal on the planet.”  ³²

Boomer

“Do not imitate a dog, but make your organism enter into composition with something else in such a way that the particles emitted from the aggregate thus composed will be a canine as a function of the relation of movement and rest, or of molecular proximity, into which they enter.”  ³³

“Its efficiency is striking. There is nothing extra, superfluous or obscure about Mr. Kulik’s performance. For all intents and purposes, he is a dog: he can be scary and unpredictable and territorial. After all, he’s in his prime, about 5 dog years old; visitors who wish to enter his cage may do so one at a time and must put on the quilted overalls and arm-guards that hang near the chained and barred door to his cage.”  ³⁴

“The choice of the term ‘pack’ for this older and more limited kind of crowd is intended to remind us that it owes its origin among men to the example of animals, the pack of animals hunting together. Wolves, which man knew well and from whom many of the dogs he uses derive, had impressed him very early. Their occurrence as mythical animals among so many peoples, the conception of the were-wolf, the stories of men who, disguised as wolves, assailed and dismembered other men, the legend of children brought up as wolvesall these things and many others prove how close the wolf was to man.”  ³⁵

“Saying it would be too confusing, a judge has denied the petition of a so-called ‘furry’ to legally change his name to Boomer the Dog. Forty-four-year-old Green Tree resident Gary Guy Mathews says he filed for the name change in June because he’s a fan of a short-lived 1980s NBC television series called “Here’s Boomer,” which featured a dog that rescued people.”  ³⁶

Where’s Waldo, #1.5 – Sun Aug 15, 2010 10:31 PM EDT “This boy ain’t wired right. I’ve heard of men wanting to be a women and women wanting to be men but this is a new one on me. Mom and Dad must have raised the poor kid in a kennel instead of a crib. Wonder what his favorite pup food was? Of course maybe he’s smarter than any of us thinks……or maybe not.”  ³⁷

dave-735909, Thu Aug 12, 2010 10:21 AM EDT “Why can’t we just respect people’s constitutional right to be crazy?”  ³⁸

Susi-Oh, Thu Aug 12, 2010 12:10 PM EDT “My sentiments exactly but how far do you want to take this? Should we just let him bark back when you ask him a question? Can you introduce a guy like that with a straight face? He’s big for a dog and might scare little children. Actually, even without the name change he looks a bit scary.”  ³⁹

Janet A., #15 – Thu Aug 12, 2010 10:59 AM EDT “If this idiot was truly a dog, we’d put him to sleep for being insane. Just a thought.”  ⁴⁰

wchall1949, #2 – Thu Aug 12, 2010 10:15 AM EDT “OMG – the really frightening thing here is that this guy is allowed to marry & reproduce!!! Truly scary!! What a moron!!!”  ⁴¹

Sues-343312, #2.1 – Thu Aug 12, 2010 11:22 AM EDT “Well he is 44 yrs old has managed to not procreate up to now. Let’s just hope he meets up with a spayed female”  ⁴²

Description of DoggieWoggiez! PoochieWoochiez! Minutes 3:26 to 3:37

3:26 . A close-up of a crying child, with a dissolve of snow over his face. He says “Daddy…”
Close up of an adult man, he says “I don’t have a daddy.”
A girl wears a party hat. Lying on her bed, she talks to her brother, also wearing a party hat. She says “I just miss him so much…”
Cut to a different girl in pigtails addressing a bloodhound wearing a king’s crown and fur cape. She says “I miss him too.”
3:30 . Close-up of a crying boy. “I miss him, mom.”
Angry-looking farmer standing under a tree. He says “Your mother passed on.”
3:32 . A woman lays on a bed with a girl. “…to join the angels.”
A man looks up to the sky and gestures upwards “She’s in heaven.”
A woman with a party hat “watching over you right now.”
3:37 . A boy addresses a dog. “My dad used to do that.”
A boy and his mother talk as she drives. The boy says “He wants a dad.”
A woman sits next to a boy outside with a rocky hill behind them. He is looking through binoculars. She says “You remind me a lot of your dad sitting there.”

Domestic Tie: Puppies

“When they’re your best friend it turns into this weird, gross, furry pile where you can’t tell where the lines are between human and dog, master and slave, and sex, and it’s just ugh.”  ⁴³

“Bestiality lowered a man to the level of a beast, but it also left something human in the animal.”  ⁴⁴

“A man has appeared before Limerick District Court charged with ordering his Alsatian dog to have sex with a 43-year-old mother of four, who died from an adverse allergic reaction to the intercourse.”  ⁴⁵

“Addressing the consent issue, Daniels writes, ‘[T]he truth is that animals, particularly domesticated ones, don’t consent to most of the things that happen to them.’ Animal sexual autonomy is regularly violated for human financial gain through procedures such as AI. Such procedures are probably more disturbing physically and psychologically than an act of zoophilia would be, yet the issue of consent on the part of the animal is never raised in the discussion of such procedures. Should the day Bentham speaks of arrive when animal rights are recognized by society and the law, an argument which speaks only to the zoophile’s right to fair exercise of his property rights in the animals he owns may prove an insufficient legal justification for acts of zoophilia.”  ⁴⁶

“In 1812 in a similar case in strongly Federalist Seneca County, New York,William Moulton, a fifty-eight-year-old veteran of the Revolutionary War and a prominent Democratic-Republican, was accused of buggering a bitch, which then delivered a litter of puppies that ‘had large heads, no hair on them nor tails, and on the side of their head they had small ears.'”  ⁴⁷

Dead Dog: The Right to Make Live and to Let Die

“I am for the majestic art of dog-turds, rising like cathedral.”  ⁴⁸

“The right of sovereignty was the right to take life or let live. And then this new right is established: the right to make live and to let die.”  ⁴⁹

“Though a single gull had already struck Melanie on the forehead the day before, the choice of the children’s party for this first fully choreographed attack suggests the extent to which the birds take aim at the social structures of meaning that observances like the birthday party serve to secure and enact: take aim, that is, not only at children and the sacralization of childhood, but also at the very organization of meaning around structures of subjectivity that celebrate, along with the day of one’s birth, the ideology of reproductive necessity.”  ⁵⁰

“Death is outside the power relationship. Death is beyond the reach of power, and power has a grip on it only in general, overall or statistical terms…death now becomes, in contrast, the moment when the individual escapes all power, falls back on himself and retreats, so to speak, into his own privacy. Power no longer recognizes death. Power literally ignores death.”  ⁵¹

“Physician assisted suicide is fundamentally inconsistent with the physician’s professional role.”  ⁵²

“Even worse their comments continue to make no distinction between hierarchical and non-hierarchical organizations and institutions — simply rejecting all organization — which is tantamount, if you think about it for a minute, to proposing a future that lacks workplaces, religious centers, families, any kind of assemblies, and so on — a future in which lone individuals or small groups fend for themselves (a vision seemingly not too far from what they propose).”  ⁵³

‘It is critical that the medical profession redoubles its efforts to ensure that dying patients are provided optimal treatment for their pain and other discomfort. The use of more aggressive comfort care measures, including greater reliance on hospice care, can alleviate the physical and emotional suffering that dying patients experience. Evaluation and treatment by a health professional with expertise in the psychiatric aspects of terminal illness can often alleviate the suffering that leads a patient to desire assisted suicide.”  ⁵⁴

“Their vision of a commune offers very little guarantee of its own basic existence. There are no proposed methods for deciding what will be produced or consumed nor how much of each or its distribution in a socially responsible way.”  ⁵⁵

“The euthanasia of animals has been acknowledged by most animal protection organizations, including [The Humane Society of the United States], as an appropriate and humane means of ending the suffering of an animal in physical distress. It is also used widely to end the lives of animals who have severe behavioral problems, including aggression, and cannot be adopted into an appropriate new home because they pose a threat to the health and safety of people or other animals.”  ⁵⁶

“Once we know where it is we want to go, we can then act with the urgency needed to organize and build institutions and movements able to win change and create the necessary foundations for a future society.”  ⁵⁷

“Those who demand another society should better start to realize that there is none left. And maybe they would then stop being wannabe-managers.”  ⁵⁸

“This is the dog’s real trick, the height of animal acting. Not surprisingly, the imitated action is one of violence and must have been somewhat complicated; because all pet dogs, and dog performers most of all, must be nonviolent and cooperative, the animal actor here must go against its ‘nature’ in order to successfully set up the final tableau. That animals can be domesticatedmade to forego violence in order to serve peopleis the triumph of human culture over nature. That they can then be trained to appear violentto attack humansis the ironic confirmation of this subjection.”  ⁵⁹

“Should you battle on, take the pain, endure the indignity, and await the inevitable end, which may be days, weeks or months away? Or should you take control of the situation and resort to some form of euthanasia, which in its modern-language definition has come to mean ‘help with a good death’?”  ⁶⁰

“At the final stage of this evolution, we see the first socialist mayor of Paris putting the finishing touches on urban pacification with a new police protocol for a poor neighborhood, announced with the following carefully chosen words: ‘We’re building a civilized space here.’ There’s nothing more to say, everything has to be destroyed.”  ⁶¹

Description of DoggieWoggiez! PoochieWoochiez! Minutes 3:43 to 4:03

3:43 A montage of eerily smiling children’s’ faces. Audio is the word “dad” played over and over as it overlaps and becomes “dog”. The words dad and dog are repeated in a loop. The video becomes a distorted montage of psychedelic faces of children and dogs. Eventually the words dad and dog becomes god.
4:03 The montage audio and video end abruptly.
A small dog says “I know something we can do.”
A shot of a Bernese, who says “Poop” then winks.

DoggieWoggiez! PoochieWoochiez! $20
http://www.everythingisterrible.bigcartel.com/product/doggiewoggiez-poochiewoochiez
http://www.everythingisterrible.com/

How can designers and programmers work more harmoniously? How can the tools being created better meet the needs of users? There is a need for designers to have a greater role in the production of the tools that they use, aside from just reporting bugs, requesting features or designing logos for open source projects. This is where the Libre Graphics Research Unit comes in. The Libre Graphics Research Unit (LGRU) is a traveling lab where new ideas for creative tools are developed. The unit has grand aims, looking to bring aspects of open source software development to artistic practices. The programme, sponsored by many organisations in Europe, is split into four interconnected threads:

• Networked graphics
• Co-position
• Piksels and lines
• Abstracting craft

The first meeting, Networked Graphics, took place in Rotterdam from 7-10 December, 2011 and was Hosted by WORM. This second meeting, Co-Position, for which I was present, took place at venues across Brussels from 22-25 February 2012. Co-Position is described by LGRU as:

[…] an attempt to re-imagine lay-out from scratch. We will analyse the history of lay-out (from moveable type to compositing engines) in order to better understand how relations between workflow, material and media have been coded into our tools. We will look at emerging software for doing lay-out differently, but most importantly we want to sketch ideas for tools that combine elements of canvas editing, dynamic lay-out, networked lay-out, web-to-print and Print on Demand.

The meeting saw the coming together of many international artists, theorists and developers for four days of work around this subject. As some of the sessions of the meeting took place simultaneously I’m unable to give a full synopsis of the event. Instead, what is presented below are some of the key issues raised at the meeting.

Libre workflows

The subject of copyright cannot be avoided when discussing digital art and collaborative practices. There is a definite need to foster a safe and welcoming environment for artists and designers to produce, share and remix their work. Licensing of artwork under Copyleft licences – such as Creative Commons – helps to create this environment.

In his presentation, entitled “Libre Workflows – A Tragedy In 3 Acts”, Aymeric Mansoux was quick to point out that Creative Commons licences do not cover the source of the artwork. To put it into context, a JPG is covered by a Creative Commons licence but is the XCF/PSD file? Mansoux also considered what is actually a finished piece of artwork? In a remix culture is an artwork ever finished? Mansoux refers to this quote from Michael Szpakowski for further elaboration:

I’ve found it helpful to think of any artwork, be it literary, visual art or music as a kind of fuzzy four dimensional manifold. So the “complete” artwork is the sum of all its instances in time, and all epiphenomena. The entire artwork, seen this way, is a real and precisely enumerable sum, a concrete, not imaginary, set, which could be knowable in its entirety by something long lived and far seeing enough.

Visual Versioning

From their home town of Porto, Portugal, Ana Carvalho and Ricardo Lafuente produce Libre Graphics Magazine with ginger coons who is based in Toronto, Canada. For the production of the magazine they use Git, with their repository being hosted on Gitorious. As a tool for sharing files between collaborators Git is very useful. However, they explained that they feel they are not making effective use of all that Git has to offer. Part of this comes from the complexity of using Git. There are more than 140 commands in Git, each with their own unique function. These are usually entered via the command-line, but there are a number of programs with a Graphical User Interface (GUI) available. Programs with a GUI are usually favoured over command-line programs as they remove some of the complexity. Carvalho and Lafuente have found, however, that many of of these GUI programs simply replace commands with buttons, which doesn’t remove any of the complexity in using Git. What is needed is an easy to use specialised tool for the production of art.

Visual Versioning Work Session

In this work session, presented by Ana Carvalho and Eric Schrijver, the work group imagined how to adapt existing version control tools to meet the needs of artists and designers. The session began by taking a look at how people currently implement version control. A common practice is to manually make backups, renaming files to differentiate between stages. This can be an effective way of making different versions, but it doesn’t address other issues such as making comparisons or merging changes. The ineffectiveness of these manual methods is soon very apparent. The work group was introduced to the Open Source Publishing (OSP) Visual Repository viewer, which begins to respond to some problems with current version control systems by providing thumbnails of files in a repository.

Using this as a basis we began to look at other functions that the OSP Visual Repository viewer should have, such as the ability to compare graphical files in different ways and to revert back to previous versions or merge versions. Although there was no time to produce working code we did seek to address the complex task of merging and comparing not only the ouput file but also the working files (svg/xcf/psd).

Laidout

Every good work of software starts by scratching a developer’s personal itch.

This quote from The Cathedral and the Bazaar by Eric Steve Raymond could not be more accurate in describing the motivations behind the development of Laidout, developed by Tom Lechner, a comic artist from Portland, Oregon. Perhaps one of the most impressive software demonstrations of LGRU, Laidout is a program for laying out artwork on pages with any number of folds, which don’t even have to be rectangular.

SVG from scratch

In an attempt to devise new tags that can be added to the SVG specification, Michael Murtaugh and Stephanie Villayphiou presented a work session that looked at the different ways language is interpreted by both humans and computers. To address this the work group took part in a task that saw them act as an interpreter of commands. With nothing more than a list of tags used in SVG files the work group would attempt to construct shapes.

The results varied from person to person and highlighted an important question: How can computers interpret ambiguity

Using the Richard A Bolt “Put that there” demonstration, Murtaugh showed how human-computer interaction is still based around using very clear, unambiguous commands that can be easily interpreted by computers. In SVG only the most basic of shapes – rectangles, circles and lines – are represented. But, as the work group participants asked, could there be tags to represent more complex shapes, such as a horse?

Roundtable discussion

On the final day of the meeting I took part in a roundtable discussion, chaired by Angela Plohman and featuring myself, Stephanie Vilayphiou, Camille Bissuel and Ana Carvalho. The discussion first went over all that we had achieved over the four days at the meeting, and then the discussion focused on how and why we share our artwork. Expanding on the earlier quote from Szpakowski, how can we make sharing all of our artwork – including the early stages and inspirations behind it – an easier and integrated part of making artwork? In addition to sharing our final, “finished” artworks do we want to also share our processes and ideas behind the artwork? More importantly, can software easily aid this?

Other topics debated in the discussion revolved around opening up our artwork and processes to others. By opening up the development process of our artwork do we do so to invite collaborators and contributions or just observers? The Blender Open projects, for example, are highly regarded as an example of the work that can be made using open source software. The files used to make these projects are are released upon completion of the project, but the development process remains closed to the team of artists and developers. Would opening up this process to contributors add any value or could having too many ideas dilute the original vision of the project.

Although no conclusions around these topics were made, it was nonetheless important for everyone at the meeting to think critically about their practice

The Future of Layout

A concern of mine is that research is not always acted up on and exciting possibilities exist only as theory. However, I feel that the approach of Libre Graphics Research Unit, which combines research and practice, will ensure that the work undertaken at the meetings is implemented. It is actively working with developers and users to try and create solutions.

At the Co-Poistion meeting not one final product was made, but the initial vision for the future of layout was formed.

The next meeting, Piksels and Lines, takes place in Bergen, Norway and is organised by Piksel.

MONODROME: Art’s debt in times of crisis

AB3 Athens Biennale 2011 Monodrome

Curated by Nicolas Bourriaud and X&Y

23 October-11 December 2011

http://www.athensbiennial.org

Athens Biennale 2011 was the third edition of this institution and was entitled “Monodrome”, meaning “One way street” after the 1928 text “Eisenstrasse” by Walter Benjamin. The concept of the title is obvious; after the first Athens Biennale in 2007 prophetically entitled: “Destroy Athens”, the second Biennale “Heaven” in 2009, “Monodrome” comes as a closure to this trilogy. Why Walter Benjamin? Because he was a “defeated intellectual”, according to the curators. German-Jewish philosopher, an emblematic figure of 20th century thought, gave an end to his life at the french-spanish border while trying to escape the Nazis. “He was unable to overcome his personal dead-end as a subject”, says Poka-Yio of X&Y and he continues: “The title of this exhibition after Benjamin’s text refers to a collective dead-end” currently at stake and it’s only possible fate: a cloud of doom.  “Monodrome” aimed to provoke debate around “something that has fallen apart, but to also offer the possibility of a glimpse at something new to come”.

Indeed, this Biennale took place at a specific moment in Greek and global history, where all 20th century utopian narratives (i.e. modernism, ecology, metaphysics) are crashing, introducing to the whole world a humiliating and disturbing, both socially, as well as nationally, dystopian non-future. Athens, the cradle of democracy was – at the time – “rocking the world”, by suffering the experimental imposition of a non-democratic supernational regime stamped with the mark of over-privatization, a situation that immediately started spreading all over Europe. Now – that the exhibition has come to an end – nearly everyone on this planet feels that “the time” {our world – as we know it – has come to} “is out of joint”, “the very place of spectrality” (Jaques Derrida, “Specters of Marx: The State of the Debt, the Work of Mourning, and the New International“ Routledge, 1994: 82).

What’s art got to do with this? “Artists usually have premonitions of what’s going to happen, it is often that artists precede with their work social changes; artists are mostly intuitive, it’s at the core of their existence, this how they create” Poka-Yio says. Nicolas Bourriaud and X&Y had to deal with a situation that can be called no less than a “crisis management”. The exhibition was organized practically with no funding and was based mainly on the contribution of all participants and volunteers. The social events that were taking place during the very opening of the show were probably amongst those of the most significant importance in Greece’s postwar history. The energy and emotional vibe caused by this historical moment were the background of the Biennale and made it both a great challenge and a responsibility for the curatorial team. 

Despite these critical financial and social circumstances, the Biennale was successfully realized against all odds and it can be said, that it was well received by the audience – an accomplishment on behalf of the curators who selected the works, planned and organized it. The curators of the 3rd Athens Biennale 2011 felt that “the widening situation for which Greece is a much derided yet overexposed case-study must become the focus of cultural investigation, in a way that it is no longer poignant – or even moral – to simply keep making exhibitions in the way that had become the norm in previous years”. 

In order to address these issues, besides investigating the exhibition’s conceptual framework, the curators decided “to experiment with the Biennale exhibition format itself, by transforming it into an invitation to create a political moment rather than stage a political spectacle by making a call to a sit-in of collectives, political organizations and citizens involved in the transformation of society”. At another level, as the exhibition was designed and produced, its various stages of development were providing the basis for a feature film directed by Nicolas Bourriaud. Social media also played an important role in the communication strategy of this Biennale, as every event, talk, happening or performance was recorded and presented at AB3 youtube channel and one could follow it via facebook, twitter and other social platforms, as vimeo, flickr and tumblr.

The conceptual framework, upon which the theoretical thread was build, was a deep dive in the folds of Greek history. The curatorial strategy chose “to represent an ongoing crisis through historical fragments, a Benjaminian technique”. Walter Benjamin, provided with his text “Eisenstrasse” the tools for looking at history in a fragmented way, for he, according to the curators, introduced theoretical tools for looking into history with terms of “here and now”, by often making references to the city and to the popular culture of his time. “One way to talk about history is to include history”, says Nicolas Bourriaud. “The exhibition was structured as text; its narrative unfolds as one searches in the ruins and tries to read their meaning”, as one “tries to find out about new possibilities of giving meaning”.

Walter Benjamin, as a character, for the needs of this exhibition’s narrative concept was brought in a paradox dialogue with another character, a fictional one: Saint Expery’s Little Prince. This narrative plot brings this real life character, the emblematic intellectual, to meet the hero of a children’s novel, because: “a child can pose questions in an intelligent manner representing the inner child to be found in everyone” says Xenia Kalpaktsoglou of X&Y team of Athens Biennale co-founding curators. Little Prince poses all fundamental questions of “being” to the philosopher and the intellectual strives to give back the right answers. This imaginary dialogue took place in the form of sketches spreading like a graffiti-comic all over the walls of the exhibition’s main venue building. “As the intellectual retreats defeated in the face of the escalated distress, the Little Prince keeps questioning this condition with the disarming innocence and the plainspoken boldness of a child”. 

The real protagonist of the exhibition, however, was Diplareios School, the main venue, a nearly disused old building located at the heart of downtown Athens in an underprivileged area, right across the City Hall and the old big open market. The local color and the smells of the market square, crowded with immigrants, ethnic shops and – especially at night – the presence of junkies, dealers and prostitutes was part of the exhibition’s “aura”. This building was literally used as a “panopticon” of both contemporary and ancient Athens and has a long history. It was built for the purposes of housing a School of Design, meant to be “the Greek Bauhaus”. Among many of its uses, it was requisitioned during the German Occupation and during the time when Athens was so badly over-built, it was hosting the offices of Urban Planning public service. The second exhibition venue was “Venizelos Museum”, a former military basis also used during the Greek dictatorship as the headquarters of torture investigating anti-regime citizens (former ΕΑΤ – ΕΣΑ).“The space is the artwork”, Bourriaud says. “Not just a venue. It’s previous functions manifest its character; it is a real protagonist”.

Diplareios School is an allegory of modern Greece surrendering itself to abandonment. Looking around all one sees is worn walls and graffiti, all one hears are the voices of protests and the ubiquitous noise of the city. The curatorial strategy for this Biennale was quite different from the two previous exhibitions, “Destroy Athens” in 2007 and “Heaven” in 2009. No big names of the international art market to be found among the artists. No self-referential patterns in this exhibition, other than “questions on the reasons behind the political crash, the crisis of moral values, the dead-end”. It was in fact a much more “introvert” exhibition, focused on the local scene, featuring mainly emergent Greek artists. The exhibited artworks in their majority came form Greece: “to include the local, to talk about local artistic production was one of our aims for this exhibition” according to Bourriaud.

Only to mention a few, Spyros Staveris, an emerging Greek photographer with a video art photo-documentation following the “Aganaktismenoi” social movement in Athens at its very birth. In the same room, “Ηommage a Athenes” a sound installation by Vlassis Kaniaris, with recorded sounds of the recent Athenian protests. One could not but mention the remarkable work of young Greek sculptror Andreas Lolis who is making cartboard boxes and felizol sculptures out of marble. “In my artwork, I try to make time stop. The reason why I am using marble, is because I want to make these fragile objects eternal”. “We all use cartboard boxes. People sleep in them. When I looked down from the windows of the Biennale venue and saw people on the terraces sleeping in cartons, it only came to me as a natural thing to co-exist with this situation – not to record it”. “This is the best time for Art. Not the art market, Art. When I recently saw the artworks of Athens Fine Art School graduates, I realized that the bubble-effect’s gone, now. These young artists, living this situation have grown into reality. There’s so much truth in their artworks”.

Another captivating artwork featured at the Biennale was “EXIT” by the Greek collective “Under Construction”, an installation of old rusty worn office desks; “in fact we present an allegorical image of Greece, using old equipment of public services, eroded now from abandonment. The hard to distinguish faded “EXIT” ‘statement’ does not exist, at least not literally”.

Rena Papaspyrou’s “Photocopies” is another stunning installation, where phone numbers printed on fragments of paper are posted on the wall. “Extending the decay of the wall, this piece secretly interacts with the graffiti notes on the wall waving alternative histories of the numerous uses of the building”. Thus the interaction between Papaspyrou’s installation and the Diplareios building creates a sense of dialogue, both in concept as well as in form.

One may wonder whether any international artists were presented in this exhibition. Lucas Lenglet, Jakob Kolding, Norman Leto, Caroline May, Josef Dabernig, Józef Robakowski only to mention a few, and of course, Julien Prévieux’s “A La Recherche du Miracle Economique”.

“This is a fragmented exhibition”, Bourriaud says: “one can see in this exhibition various media, film, collages, photographs, sculptures, drawings, paintings”. Amongst the artworks, the visitor would encounter several objects that have nothing to do with art but were used as tools for the exhibition narrative: a time lapse, a trip down to memory lane. For example, an object used for this purpose was a placard, that the curators found discarded after a recent protest in Athens. On the placard was written: “WAKE UP BANANA REPUBLIC”. 

Also, the lost opportunity of Greek design; some of the works of students of Diplareios School were exhibited; they had been left in the old School. Posters by Greek National Tourism Organisation by Michael and Agnes Katzourakis. Pictures of Andreas Papandreou with Gaddaffi during the “good old days”. Air stewart and pilot uniforms from The Olympic Airways. In the attic of the old School, the crescendo of the exhibition’s narrative: as one faces the image of the ancient monument of the Acropolis through the dirty windows of the old School, a dead pigeon that was found there and was respectfully kept by the curators as a symbol, an omen.  

The 3rd Athens Biennale 2011 was a double project; in both the form of an international exhibition and a feature film. The return of Walter Benjamin as a ghost that comes to haunt the city of Athens during this crisis period is the theme of a film directed by Nicolas Bourriaud. “It is a feature film, a film as an exhibition, a documentary based on actual characters, a docu-fiction and an experimentation with the platform of the Biennale”, says Bourriaud. “The film will be a work of fiction albeit based on real events. This is the first time that the relationship between contemporary art and filmic language is investigated in this way”. A catalogue will document the whole process of the 3rd Athens Biennale, and a DVD edition, including the movie and documents on participants’ works, will be published. Following the completion of the Biennale, the film in its final format will be distributed both in the art world and the cinema circuit. The executive producer of the movie is Kino Prod (www.kino.fr) in Paris. 

Ironically, and sadly, “Monodrome“’s TV trailer was censored by the Greek National Broadcaster (ERT), who was also the major communication sponsor of the Biennale. The director of this 26’’ spot, Giorgos Zois, a talented young Greek filmmaker who has already won several international distinctions and prizes – according to his official statement as an answer to this act – attempted to “deliver the theme of the 3rd Biennale MONODROME (meaning one-way) in a series of slow-motion images of a forcibly accelerated reality depicting the one-way contemporary condition. Instinctively and suspiciously the national Greek television judged the content to be against the law that forbids “messages that contain elements of violence, or encourage dangerous behaviors, or  insult human dignity”. “Apparently the daily transmission of aggressive porn-like governmental policies, does not count as an insult to viewers”. You can watch the trailer here:

This show is curated jointly by Helen Sloan of SCAN and the John Hansard Gallery, Southampton. There is both curatorial interest in the technological aspects of the work as well as the subject matter of the war artist. Sloan was approached by the Arts Council in terms of initiating a project for the ‘Interact’ series of commissions, on which she worked with David Cotterrell. In 2007, Coterrell went to Afghanistan as artist-in-residence for a month in a field hospital. At his residency in 2008, at SEOS (now Rockwell Collins), a company that makes flight simulators. He explored the nature of representation itself, and particularly ‘the suspension of disbelief’. This relates to our relationship with digital data, and how often we regard it as more real, due to its nominal representation of reality and our use of this as information.

What appear to be ‘A-life critters’, are in fact scaled down human forms. Trawling across a dust-sculpted landscape, the real of the chalk dust intersects with the virtual projections of the A-life program which is mapping the movement of these forms to the reality of the sculpted landscape.

David Cotterrell doesn’t want to show pictures of the atrocities of war, but instead focuses on the complex experience of lived space in territorial combat and its mapping. He presents a kind of ‘topo-analysis’ of an imaginary space, with nominal figures located and moving in spatial relationship to one another. In Observer Effect the gallery viewer triggers the movement of the virtual entities who are attracted by a ‘sphere of influence’ to the viewers position in the gallery space. In this way, the phenomenon of space, location and relationship and the concomitant fear of combat, casualty, and mortality are implicit in the context of this exhibition. 

Cotterrell has chosen to interrogate image making using technology, much as Vilém Flusser recommended, together with a lack of acceptance of the ‘normal’ indexical uses of photography and film about which he is ambivalent, although he used these media in Afghanistan.  

What these works achieve is the proposition of a ‘possible world’ where depersonalisation is understood as part of the virtual, nominal, mapped collective fantasy, which somehow then relates to the changing ‘world view’ of the Western citizen. It is also where the reference to science fiction comes from, ‘Monsters of the Id’ referring to the film Forbidden Planet. Science fiction is perhaps referred to in order to re-conceptualise our thinking as part of this Western view. In this sense it is about empowering us to think differently about the portrayal of conflict itself in the twenty-first century and to understand it as lived experience within specifically managed environments. 

This is largely achieved through Cotterrell’s translation of his own experience as war artist in Afghanistan. He seems to want his experience to affect the viewer in a way which is different from that which he witnessed, to a reliance on the imagination instead, provoked by the portrayal of the landscape and militarised environment. Instead the exploration is one of attempting to convey the sense of isolation he felt in the military field hospital.

What becomes apparent on seeing this work, is that we are being presented with data objects, which we are then encouraged to relate to, as though they are the nominal representation of real subjects. It is significant that the work is realised with new technology. All three main works in the show explore a similar landscape but use three different projection systems. In Observer Effect the system relates to interaction with the gallery visitor who influences the installation in spatial relativity, through a device that senses and then calculates, through the algorithms and maths of a game engine, their relationship to the virtual space. Alternatively, in Searchlight 2, there is a synthesis between real and virtual as the figures traverse the landscape. He has said in relation to this piece that ‘from a great distance we lose empathy with the figures crossing the landscape’. In Apparent Horizon, the viewer encounters a semi-immersive relationship with video projected onto specially designed hemi-spheres, a view of the horizon, and a lengthy period of waiting for something to happen, which captures the tension between periods of violence. In this sense the artist has worked both as a war artist and as an artist using and developing the application of new technologies.

He talked about computer programming having a tendency towards ‘megalomaniac control’, and that the installation was addressed towards ‘how an audience inhabits a gallery’, with no ‘fetishizing of computers’. The residency at SEOS has obviously affected the nature of the technology employed in the work, with two ‘black boxes’ enabling aspects of the projections, as well as the hemi-spheres as immersive hardware. The system of Observer Effect is adaptive and therefore responds to the accumulated impact of viewers in the gallery. He talked about how a commercial games company would find it easy to make, but for him it had been a steep learning curve. 

Cotterrell was able to return to Afghanistan in early 2008, due to support from the RSA, and was therefore able to look at the territory of the desert ‘outside the bubble of the military’, which had given him a limited understanding of the environment, a sense of dislocation, and the apprehension of casualties brought from the desert war zone. On this occasion he grew a beard and was able to disguise himself sufficiently so that he could interact with different groups of Afghani people and to gain a ‘pluralism of experience’, as on this occasion he was not part of the chain of command. In this second journey, he was ‘low value’ and therefore able to wander more freely. 

Initially, he found it difficult to deliver art work in response to what he had experienced in Afghanistan. He was aware of the historical dilemma of the conflict between medicine and war. But for him, the trauma was ‘quieter’ and involved loss of identity. For example, the twenty-one year old soldier who after severe injury was ambiguous about what would happen for the rest of his life. 

He found the operating theatre at the field hospital was ‘like a stage set’, and he took photographs of the surgeons, but found that the documentation ‘didn’t document’ sufficiently his lived experience. At one point he left a video camera running, documenting the arrival of casualties and then, when he was back at home, he edited the footage and left only the moments when attendant individuals ‘allowed their guard to drop’. He questioned though, whether ‘it was right to document trauma’. This left him with the ‘impossibility of conveying content’.

As war artist he has chosen to explore the military and political relationships with the technological portrayal of soldiers and civilians within a territorial combat zone. This is sufficient for Cotterrell in order to convey the sense of isolation and the particular landscape of Afghanistan. In this way, apprehending the virtual or nominal as a way of perceiving what could be real, and is real in a conflict situation, puts the viewer in a complex position, of both suspending disbelief and recognising the construct. The final work Monsters of the Id, includes in a small installation an army tent, desk and military communications equipment. This conjures up an image of Cotterrell’s experience as a war artist, although in fact it is his portrayal of how we might think of it – as naïve in other words.

For the team of curators, gallery staff, and the artist, it has been curatorially important to work within the gallery space and Cotterrell claims that the ‘virtual can only really be understood in a gallery context.’ This is enabled through the works being not fully immersive so that you can stand back and reflect. As such the show is all about ‘the manipulation of imagery’ informed by the residencies in Afghanistan and at SEOS.

The exhibition continues till 31 March 2012 at the John Hansard Gallery, Southampton

www.davidcotterrell.com

www.scansite.org

Women, Art & Technology is a series of interviews that seeks to find different perspectives on the current voice of women working in art and technology. The series continues with curator Sarah Cook. 

Sarah Cook is a curator and writer based in Newcastle upon Tyne, UK, and co-author with Beryl Graham of the book Rethinking Curating: Art After New Media (MIT Press, 2010). She is currently a reader at the University of Sunderland where she co-founded and co-edits CRUMB, the online resource for curators of new media art, and where she teaches on the MA Curating course. Most recently she curated the Mirror Neurons exhibition that is part of the AV Festival running through till March 31, 2012, in New Castle.   

Rachel Beth Egenhoefer: Over the last few years you have curated a number of exhibitions in relation to festivals of media art. Could you start by giving us a brief description of the AND (Abandon Normal Devices) Festival and your involvement in it last year?  

Sarah Cook:  My involvement in the AND Festival was to curate a small group exhibition for the galleries at Liverpool John Moore’s University Gallery (in the Art and Design Academy Building). The exhibition was a part of AND but was also curated for the crowd of academics attending the Rewire conference which I was co-chairing. Rewire was the Fourth International Conference on the Histories of Media Art, Science and Technology. A three-day, peer reviewed, international event, the conference had over 150 speakers and three keynote lectures including one by Andrew Pickering, author of the book The Cybernetic Brain. The exhibition, Q.E.D., included seven projects all of which questioned how we can know anything but looking at documentation of it (a problem for art historians of course!). In 2011 the AND Festival had as its theme questioning belief and the structures of belief, so this exhibition complemented their huge and diverse programme.

I had been involved in previous Media Art Histories conferences – having co-curated the exhibition “The Art Formerly Known As New Media”  for the first one, Re:Fresh!, which was held in Banff in 2005.

RBE: Could you give us a few examples of work from your exhibition that you felt really abandoned normal devices or methods of production and presented new perspectives?    

SC:  I selected works in which the artists might have abandoned normal ways of making art, to undertake experiments of sorts, experiments demonstrating phenomena in the world. (Q.E.D. is from the Latin ‘Quod Erat Demonstrandum’ meaning what was to have been demonstrated or what was required to be proved). I wanted a show in which skepticism was the norm, and a perfectly valid methodology for artists to employ as they go about investigating, modeling or representing the world around them. 

So there was documentation of Norman White and Laura Kikuaka’s 1988 project Them Fuckin’ Robots — an attempt to create one male and one female electro-mechanical sex machine, without sharing in advance any information about materials, function, or how they would connect.

Alexandra Daisy Ginsberg and Sascha Pohflepp’s work-in-progress, Yesterday’s Today, was part of their Southampton University commission investigating the limits and possibilities of models for describing knowledge. They started with the oldest predictive model known to science, and a very British one at that, the weather forecast, and attempted to cool the gallery space to the predicted temperature for the day. There was a heatwave in Liverpool that week in September, so it was a great to experience reality and a model of reality simultaneously. 

Axel Straschnoy, along with his many collaborators at the Robotics Institute at Carnegie Mellon University (Ben Brown, Garth Zeglin, Geoff Gordon, Iheanyi Umez-Eronini, Marek Michalowski, Paul Serri, Sue Ann Hong), showed the documentation of their attempts to create a robot that performs art and a robot that watches and appreciates performance art. The informal video interviews with the artificial intelligence engineers discussing how a robot might want to make art are brilliant and often funny. 

RBE:  I understand your work with AND has lead to a new project recently launched with the AV Festival.

SC:  Yes, I have curated an exhibition for the AV Festival, taking place across Newcastle, Sunderland and Middlesborough through March 2012. The show is at the National Glass Centre in Sunderland and is called Mirror Neurons. While AV Festival has a theme of Slowness, Mirror Neurons seeks to question time delay, media processing, and the time it takes for our cognition to kick in when we are in the presence of art – interactive, reactive or not. One of the pieces which was in Q.E.D is in this show also: Scott Rogers’ Self-Flowing Flask – a glass object made based on a drawing by 17th century scientist and inventor Robert Boyle, shown alongside a digitally created animation of it. There is a real sense of confusion by viewers when they see the object: Does it work? Could it work? How would it work? And then when they see the animation they have to work out if it is real or not.

RBE: You mention “Slowness” as the theme for the AV Festival. “Slowness” is also a trending theme right now with slow food, slow craft, etc. How do you see slowness in relationship to technology which is usually portrayed as something “fast”?

SC:  The theme of slowness was chosen by AV Festival director Rebecca Shatwell, and so I was glad to leave exploration of that notion to her and her programme, which is stacked with fantastic works of art in moving media (film and video) and sound and performance. In the exhibitions I’ve curated for AV Festival, which include both Mirror Neurons, and a new commission from New York-based artist Joe Winter – also on view at the National Glass Centre in Sunderland – I’ve focused less on the theme of slowness than on the human action of recognising time passing, the lag between our perception or understanding of time and space, and our acknowledgement of our own actions within it.

There are some works in Mirror Neurons which seem, on the surface, to be about time, but which play with the possibility of shifting time, or at least reprocessing it or subjecting it to a new set of rules, with computer technology. By the same token, these works then also implicate you, the viewer, in the time of their action, in your realization of what it is those works are ‘doing’. For instance, Thomson & Craighead’s work Flipped Clock, is a standard computer digital clock, but with the numerals rotated, so that it is defamiliarised and causes you to do a double take and spend a moment working it out.  And Michael Snow’s WVLNT (Wavelength for those that don’t have the time) was 45 minutes, now 15!!, in my mind collapses time and space, by superimposing scenes from his 1967 structuralist film – not speeding it up but overlaying it, and seeing through it from beginning to end within the same frames.

Last comes Joe Winter’s work (which was also included in Q.E.D in the form of wall-based works which appear to be representations of astronomical or geological phenomena, but are made from standard office photocopier images or meeting room whiteboards). For the AV Festival I commissioned him to make a new work for the National Glass Centre also. …a history of light: variable array is comprised of a series of sculptural works which appear like lovingly-made office in-box trays to hold documents. Only they are ranged on white pedestals across a sunny balcony space, and contain coloured craft paper and plates of glass produced by Cate Watkinson. The idea is that over the time of the exhibition (1 March to 20 May) the sunlight will fade the coloured paper, through the plates of glass, and abstract images, based on the patterns and effects in the glass, will result. The images are both created, and destroyed, by the light, over time. Joe’s previous works have all dealt in conceptions of time – deep time, geological time, astronomical time and media time – and his work takes its aesthetics from the media and technology which surrounds us, in mundane spaces such as the office cubicle or the classroom, which while might contain ‘fast’ technology, such as computers, also contains quite ‘slow’ or old or timeless technology, such as chalk, or paper.

RBE: This interview is going to be part of a series of interviews with women working in Art & Technology. What do you consider to be important today about being a woman working in art & technology? Do you think it is still useful to discuss the female voice in the field?  

SC: I suppose there is an interesting generational break in the art and technology world at the moment as regards women’s work. I am keenly aware of (and tremendously grateful for) the work of a slightly older generation of women than me, including curators, who set up networks, facilitated international exchange, built the platforms which new media artists can work on. This generation also includes important women artists who worked with technology, gaining access to labs and high tech equipment to make work – some understanding it technically better than others, many working with the help of (often male) programmers.

In the exhibition Mirror Neurons is the work of Catherine Richards, a media artist from Canada whose work I wrote about in my PhD dissertation. For her career to date she has investigated how our bodies are plugged in to the electromagnetic spectrum which surrounds us, making Faraday Cages and copper-woven blankets to insulate us from these signals. Other of her work makes visible the connection between us, as electric beings, and our techno-environment. For the work on view in Sunderland, which was made in 2000, she worked with expert vacuum physicists and scientific glass producers at the National Research Council of Canada. For other works she has collaborated with software engineers (it was an early web-based project of hers which led in part to the invention of the software Java). She plays an important role also teaching art students, reminding them of the history of media art, which is often overlooked, and of where these technologies we take for granted come from.

Now that technologies are more ubiquitous there is a younger generation of women artists working in the field, under their own initiative. For instance, the new Pixel Palace programme at the Tyneside Cinema included three women artists in residence earlier this year – working in sound, film and digital media. Sometimes I do wonder what the preceding generation is up to; have they been able to keep up with new technologies or stuck with older ways of doing things? Have they changed tactics and after working so hard to establish themselves in what was then a rather male technological world, decided to move on? Like any field, the art and technology world will have its share of ‘old boys’ but I suppose in my work I strive to always value the collaborative relationships I have with artists and other curators, of any generation and any gender.

Also read – Woman, Art & Technology: Interview with Lynn Hershman Leeson By Rachel Beth Egenhoefer. 

“It is not accidental that at a point in history when hierarchical power and manipulation have reached their most threatening proportions, the very concepts of hierarchy, power and manipulation come into question. The challenge to these concepts comes from a redsicovery of the importance of spontaneity – a rediscovery nourished by ecology, by a heightened conception of self-development, and by a new understanding of the revolutionary process in society.” Murray Bookchin. Post-scarcity and Anarchism (1968).

The rise of neo-liberalism as a hegemonic mode of discourse, infiltrates every aspect of our social lives. Its exponential growth has been helped by gate-keepers of top-down orientated alliances; holding key positions of power and considerable wealth and influence. Educational, collective and social institutions have been dismantled, especially community groups and organisations sharing values associated with social needs in the public realm. [1] Bourdieu.

In this networked society, there are controversies and battles taking place all of the time. Battles between corporations, nation states and those who wish to preserve and expand their individual and collective freedoms. Hacktivist Artists work with technology to explore how to develop their critical and imaginative practice in ways that exist beyond traditional frameworks of art establishment and its traditions. This article highlights a small selection of artists and collaborative groups, whose work is linked by an imaginative use of technology in order to critique and intervene into the opressive effects of political and social borders.

Hacking & Cracking

In June 2000, Richard Stallman [2] when visiting Korea, illustrated the meaning of the word ‘Hacker’ in a fun way. When at lunch with some GNU [3] fans a waitress placed 6 chopsticks in front of him. Of course he knew they were meant for three people but he found it amusing to find another way to use them. Stallman managed to use three in his right hand and then successfully pick up a piece of food placing it into in his mouth.

“It didn’t become easy—for practical purposes, using two chopsticks is completely superior. But precisely because using three in one hand is hard and ordinarily never thought of, it has “hack value”, as my lunch companions immediately recognized. Playfully doing something difficult, whether useful or not, that is hacking.” [4] Stallman

The word ‘hacker’ has been loosely appropriated and compressed for the sound-bite language of film, tv and newspapers. These commercial outlets hungry for sensational stories have misrepresented hacker culture creating mythic heroes and anti-heroes in order to amaze and shock an unaware, mediated public. Yet, at the same time hackers or ‘crackers’ have exploited this mythology to get their own agendas across. Before these more confusing times, hacking was considered a less dramatic activity. In the 60s and 70s the hacker realm was dominated by computer nerds, professional programmers and hobbyists.

In contrast to what was considered as negative stereotypes of hackers in the media. Steven Levy [5], in 1984 published Hackers: Heroes of the Computer Revolution [6]. In three parts, he writes about the canonical AI hackers of MIT, the hardware hackers who invented the personal computer industry in Silicon Valley, and the third-generation game hackers in the early 1980s. Yet, in this publication, what has had the most impact on hacker culture and is still used widely as a guideline by many is the ‘hacker ethic’. He identified this Hacker Ethic to be a code of practice consisting of key points such as that “all information is free”, and that this information should be used to “change life for the better”.

The Hacker Ethic:

1. Access to computers—and anything which might teach you something about the way the world works—should be unlimited and total. Always yield to the Hands-on Imperative!

2. All information should be free.

3. Mistrust authority—promote decentralization.

4. Hackers should be judged by their hacking, not bogus criteria such as degrees, age, race or position.

5. You can create art and beauty on a computer.

6. Computers can change your life for the better.

Levy’s hacker ethic promotes the idea of performing a duty for the common good, an analogy to a modern day ‘Robin Hood'[ibid]. Proposing the concept that hackers are self-reliant whilst embracing a ‘healthy’ anti-authoritarian stance, combined with free and critical thinking. Proposing that hackers should be judged by their ability to hack, and presenting hacking as an art-form. Levy also says that the Free and open source software (FOSS) movement is the descendant of the hacker ethic. However, Levy’s hacker ethic has often been quoted out of context and misunderstood as to refer to hacking as ‘breaking’ into computers. This specifically prescribed role, denies the wider and creative context of what hacking is and could be. It does not have to be just about computer security.

This leads us to ‘crackers’. All crackers hack and all hackers hack. But, crackers are seen as second rate wannabe hackers by the older generation of hackers. The Black Hat Hacker or cracker designs and releases malicious code, gathers dangerous information and brings down sensative systems. The White Hat Hacker hunts down and destroys malicious code, and the casual hacker who hacks in order to learn information for his or her own curiosity; both generally dislike ‘Black Hats’ and ‘Crackers’, and tend to view them as computer criminals and dysfunctional juveniles. Lately, crackers have also been labeled as ‘script kiddies’. As a kind of snobbish insult, it refers to those who are not capable of building or programming their own tools, but tend to use scripts and programs written by others to perform their intrusions. To add to the confusion we also have the term ‘Grey hat’. Which refers to a hacker acting between black hat and white hat. Indeed, this could demonstrate where art hacktivists reside, challenging the trappings of the traditional concept of goody and baddy.

“There is another group of people who loudly call themselves hackers, but aren’t. These are people (mainly adolescent males) who get a kick out of breaking into computers and phreaking the phone system. Real hackers call these people ‘crackers’ and want nothing to do with them.” [7] Raymond.

“The basic difference is this: hackers build things, crackers break them.” [ibid] Raymond.

But before we judge,

let’s view a snippet of the \/\The Conscience of a Hacker/\/ by +++The Mentor+++

Written on January 8, 1986.[8]

“This is our world now… the world of the electron and the switch, the
beauty of the baud. We make use of a service already existing without paying
for what could be dirt-cheap if it wasn’t run by profiteering gluttons, and
you call us criminals. We explore… and you call us criminals.  We seek
after knowledge… and you call us criminals. We exist without skin color,
without nationality, without religious bias… and you call us criminals.
You build atomic bombs, you wage wars, you murder, cheat, and lie to us
and try to make us believe it’s for our own good, yet we’re the criminals.”

Art & Hacktivism

The term ‘Hacktivism’ was officially coined by techno-culture writer Jason Sack in a piece about media artist Shu Lea Cheang published in InfoNation in 1995. Yet, the Cult of the Dead Cow [9] are also acknowledged as defining the term. The Cult of the Dead Cow are a group of hackers and artists. They say the Hacktivism phrase was originally intended to refer to the development and use of technology to foster human rights and the open exchange of information.

Hacktivism techniques include DoS attacks, website defacement, information theft, and virtual sabotage. Famous examples of hacktivism include the recent knocking out of the PlayStation Network, various assistances to countries participating in the Arab Spring, such as attacks on Tunisian and Egyptian government websites, and attacks on Mastercard and Visa after they ceased to process payments to WikiLeaks.

Hacktivism: a policy of hacking, phreaking or creating technology to achieve a political or social goal.

“Hacktivism is a continually evolving and open process; its tactics and methodology are not static. In this sense no one owns hacktivism – it has no prophet, no gospel and no canonized literature. Hacktivism is a rhizomic, open-source phenomenon.” [10] metac0m.

The practice or behaviour of Hacktivism is at least as old as Oct 89 when DOE, HEPNET and SPAN (NASA) connected to (virtual) networked machines world wide. They were penetrated by the anti-nuclear group WANK worm.

WANK penetrated these machines and had their login screens altered to…

HACKING BORDERS: Examples of Art Hacktivism & Cultural Hacking…

“Radical groups are discovering what hackers have always known: Traditional social institutions are more vulnerable in cyberspace than they are in the physical world. And some members of the famously sophomoric hacker underground are becoming motivated by causes other than ego gratification.” [11] Harmon.

Hacktivism, exploits technology and the Internet, experimenting with the immediacy of distributable networks as a playful medium for independent, creative and free expression. There has been a gradual and natural shift from net art (and net.art) into Hacktivism. Net Art in spirit, has never really been just about art being viewed on a web browser alone. Some of the very same artists whose artwork involved being shown in browsers and making code behind the browser as part of the art, have also expanded their practice outside of the browser. One such artist is Danja Vasiliev, “Fifteen years ago WWW was something very new in Russia and besides the new dial-up aesthetics and world-wide means it brought a complete new layer of existence – “netosphere”, which made my youth.” Vasiliev very soon moved on from playing with browsers into a whole new territory. [12]

Danja co-founded media-lab moddr_ in 2007, a joint project at Piet Zwart Institute alumni and WORM Foundation. Based in Rotterdam moddr_ is a place for artists and hackers, engaging with critical forms of media-art practice. He collaborated with Gordan Savicic and Walter Langelaar from the moddr.net lab on the project Web 2.0 Suicide Machine, which lets you delete your social networking profiles and kill your virtual friends, and it also deletes your own profile leaving your profile image replaced by a noose.”The idea of the “Web 2.0 Suicide Machine” is to abandon your virtual life — so you can get your actual life back, Gordan Savicic tells NPR’s Mary Louise Kelly. Savicic is the CEO — which he says stands for “chief euthanasia officer” — of SuicideMachine.org.” [13]

Just like another project called ‘Face to facebook’ that stole 1 million facebook profiles and re-contextualized them on a custom made dating website (lovely-faces.com), set up by Italian artists Paolo Cirio and Alessandro Ludovico, whom also just so happens to be editor in chief of Neural magazine. Web 2.0 Suicide Machine, had to close its connections down regarding its Facebook activities after receiving a cease and decease letter from Facebook. [14]

Julian Oliver and Danja Vasiliev teamed up and formed the mysterious group Men in Grey. The Men In Grey explore our online vulnerabilities by tapping into, intervening into wireless network traffic. Observing, tracing and copying what we do. This hack then redisplays our activities back to us, showing the data of our online interactions.

At first no one (except myself & a few others) knew who they were. When they first arrived on the scene I started an interview with them and then suddenly, I was asked to hold back due to their antics on the Internet and interventions in public environments receiving much coverage. They were not sure how it would pan out for them. Partly due to the anonymous nature of their project, and also because of the sudden impact of the larger hacktivist group Anonymous getting much press in commercial media themselves.

“Men In Grey emerge as a manifestation of Network Anxiety, a fearful apparition in a time of government wiretaps, Facebook spies, Google caches, Internet filters and mandatory ISP logging.” M.I.G

“Spooks are listening into calls, just like they always have,” said Eric King of London’s Privacy International, in an e-mail. “With A5/1 being broken—you can decrypt and listen into 60 calls at once with a box smaller than a laptop.” [15]

Later they won the Golden Nica (1st prize) Interactive Arts category, Prix Ars Electronica in 2011. In a show called Project Space — M.I.G. — Display of unknown, quarantined equipment hosted at the Aksioma Project Space Komenskega, Ljubljana 2011. The statement read:

“The particularly threatening quality of the Men In Grey equipment is its apparently invasive nature; it seems able to penetrate – and even hack into – virtually any electronic device in its reach. While we are all aware of the wire-tapping and data retention done by the government (along with the spying carried out by corporations like Facebook and Google), Men In Grey seem to operate with a range of tools and techniques well beyond those that are currently known to be in use.”

Hacktivism involves many different levels of social intervention and engagement. Whether it is to do with direct action, self-referential geekiness, obscure networked antics, crtical gaming, or peer 2 peer and collective change. Hacktivists challenge defaults put in place by other people, usually the systems imposed upon them and the rest of us by authority. Even though the subjects themselves may be concerning serious matters, humour and playfulness are both essential ingredients.

“A promising tactic for the early Situationists was the unpredictable yet forceful potential of play — what anthropologist Victor Turner termed the “liminoid,” or the freeing and transformational, moments of play when the normal roles and rules of a community or society are relaxed.” [16] Dovey & Kennedy.

One group crossing over from the digital into physical and social realms, is Tiltfactor. [17] Their form of intervention is not necessarily about causing political controversy, but is engaged in reaching people through games of play. Experimenting with social everyday contexts, making games that tackle less traditional topics, such as public health, layoffs, GMO crops. One of the many games creating awareness on these subjects, is POX “Our game actually helps a player understand how a disease can spread from one place to another and how an outbreak might happen” says Mary Flanagan. [18]

A local public health group called Mascoma Valley Health in the New Hampshire region of the US approached Tiltfactor with the problem of the lack of immunization. “At first, a game about getting people immunized seemed like one of the most “un-fun” concepts imaginable. But that sinking feeling of impossibility almost always leads to good ideas later.” [19] Flanagan.

“Geopolitical space has always been a conflicted and fragile topic. Borders and frontiers are changing so fast, that sometimes it seems that our sociopolitical status can change from “citizen” to “immigrant” from one moment to another, or simply live under the “immigrant” status all your life. We’re getting used to words like refugees, enclaves, war, borders, limits –and the list has no end.” Ethel Baraona Pohl & César Reyes

The Transborder Immigrant Tool (TBT).

Ricardo Dominguez collaborated with Brett Stalbaum, Micha Cardenas, Amy Sara Carroll & Elle Mehrmand, on (TBT) (and others), on a hand-held mobile phone device that aids crossers of the Mexico-US border. An inexpensive tool to support the finding of water caches left in the Southern California desert by NGO’s for those crossing the border.

“The entire group of artists who are part of Electronic Disturbance Theater 2.0/b.a.n.g. lab working on the Transborder Immigrant Tool (TBT) was being investigated by UCSD and 3 Republican Congressmen starting on January 11, 2010. Then I came under investigation for the virtual sit-in performance (which joined communities statewide against the rising students fees in the UC system and the dismantling of educational support for K–12 across California) against the UC Office of the President (UCOP) on March 4, 2010. This was then followed by an investigation by the FBI Office of Cybercrimes.” [20] Ricardo Dominguez.

In an interview with Lawrence Bird Dominguez discusses that the TBT is still developing as a gps tool, but infers that it is not just a tool but also ‘border disturbance art’, consisting of different nuances existing as part of a whole with other factors at play. Such as a hybrid mix of things, objects and expressions “artivism, tactical poetries, hacktivism(s), new media theater, border disturbance art/technologies, augmented realities, speculative cartographies, queer technologies, transnational feminisms and code, digital Zapatismo, dislocative gps, intergalactic performances, [add your own______].” [ibid]

BorderXing Guide by Heath Bunting

“Borders are there to be crossed. Their significance becomes obvious only when they are violated – and it says quite a lot about a society’s political and social climate when one sees what kind of border crossing a government tries to prevent.” [21] Florian Schneider

National borders are front-lines of political and social friction. The exerience of asylum-seekers and political migrants reflect some of the most significant issues of our time. Immigration is a toxic issue and unpopular with voters. Bunting’s BorderXing Guide, plays on the fear of invisible alien hordes of people crossing our borders illegally.

The context of this work fits well with issues about borders, whether it is about creating borders online or physical environments. Only those needing to cross a border are allowed access to the site, it is limited to ‘social clients’ who have a static IP (Internet Protocol) address and who, most notably, have gained the artist’s confidence. Such as peer activists and immigrants using libraries, colleges, cultural centres. The site allows those who would other wise end up crossing borders in harmful ways, such as in containers, on the backs of (and underneath) lorries and planes.

Heath Bunting’s BorderXing Guide website primarily consists of documentation of walks that traverse national boundaries, without interruption from customs, immigration, or border police. The work comments on the way in which movement between borders is restricted by governments and associated bureaucracies. It is a manual written not at distance like a google map, but by foot. A physical investigation, involving actually going to these places; trying these discovered routes out and then sharing them with others. A carefully calculated politics of public relations.

Kate Rich and Feral Trade

“The Feral Trade Café is more than just an art space that’s a working café, it’s about provoking people to question the way big food corporations operate by looking at the journey of the food we end up scraping into our pampered bins.” [22] Gastrogeek

Feral Trade uses social and cultural hand baggage to transport food based items between cities, often using other artists and curators as mules. Feral Trade products (2003-present), alongside ingredient route maps, bespoke food packaging, video and other artefacts from the Feral Trade network. The goods rangefrom coffee from El Salvador, hot chocolate from Mexico and sweets from Montenegro, as well as locally sourced bread, vegetables and herbs.

Kate Rich uses the word ‘feral’ as a process refering to being deliberately wild, as in pigeon, as opposed to romantic nature wild as the wolf. It is an unruly wild, shitting everywhere, disruption and annoyance in contrast to ‘official’ human structures and connected infrastructures. Feral Trade freight operates largely outside commercial channels, using the surplus potential of social, cultural and data networks for the distribution of goods. Working with co-operatives, small growers and food producers.

The Feral Trade Courier is a live shipping database for a freight network running outside commercial systems. The database offers dedicated tracking of feral trade products in circulation, archives every shipment and generates freight documents on the fly.

Every shipment is different and has its own story of how and where it was delivered from. Also included is information on who the carriers are with details about producers and their local culture as contextual information. The product packaging itself is also a carrier of information about social, political context and discussions with producers and carriers.

Since the rise of the Internet individual and collective actions are symbiotically connected to the every day. In a world transformed, common people have access to tools that can change ‘our’ cultures independently; sharing information, motivating actions and changing situations. We know of the Arab Spring, the Occupy movement, Anonymous and Wikileaks and how successful they have been in exploiting technology and social networks. Technology just like any other medium is a flexible material. By tweaking, breaking and remaking ‘something’ you can re-root it’s function, change its purpose.

The links between these mass social movements and the artists here are not just relating to technology’s use but, a shared critique at the same enemy, neo-liberalism.

“”Neo-liberalism” is a set of economic policies that have become widespread during the last 25 years or so. Although the word is rarely heard in the United States, you can clearly see the effects of neo-liberalism here as the rich grow richer and the poor grow poorer.” [24] Martinez & Garcia.

At the same time as highlighting the continual privatization of human society. This form of art practice shows us the cracks of where a social divide of gate-keeping has maintained power within the Western World’s, traditional art structures. We now realize that the art canons we have been taught to rely on as reference are more based around privelage, centralization and market dominance rather than democratic representation or even just pure talent. Hacktivist artists adapt and recontextualize with a critical approach, towards a larger and more inclusive context beyond their own immediate selves. Demonstrating a respect and use of autonomy, and an awareness of social contexts and political nuances, freeing up dialogue for new discussions which include a recognition of social contexts, as a vital ingredient and valued resource in art. Re-aligning, reconfiguring the defaults of what art is today.

Lies, Lawlessness and Disbelief 1. Thinking Art and Capital: Conceptual Capitalism and Risk Management, 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.

DOWNLOAD the full text (including all 5 parts) here.

An Attempt at Thinking Art and Capital: Conceptual Capitalism and Risk Management

this sentence is a lie^[1]

Capitalism is no longer the simple fordist system of production and consumption. It has, in its post-fordist lifetime become a more and more complex and intangible form. Today, it is a conceptual capitalism that has become unmoored, free floating, and all encompassing. As it continues, capital has the amazing ability to subsume everything it encounters, including criticism and resistance.^[2] This proliferation seems to leave little room to resist – there is no longer a way to step outside and critique, since the death/failure of really existing socialism,^[3] but this means only that critique must come from within, which is no small feat. It is a method riddled with paradox and self-defeat, but this perhaps reflects the nature of capital itself – as a system it offers up many moments of fissure or collapse that can be manipulated. The vastness of capitalism and the complexity of the bureaucracy necessary to hold together a system of “order” that directly contradicts chaos theory inevitably begins to circle and break down. It is these moments of circuity, of fissure, that this essay will focus on.

Contemporary capitalism is conceptual capitalism – it runs on the idea of money in the form of loans, mortgages, hedge funds, junk bonds; it is fictional money and a fictional market based on an elaborate system of risk management, which implies some intrinsic (but impossible) knowledge of the future. It also seems that this fictional market can be bolstered by belief alone. ‘The financial crisis of 2008 showed enormous sums of money spent not on a real, concrete problem, but rather to restore belief in the market. Capital, in all its intangible forms, is the Real of our lives’.^[4]

If what Žižek states is true, and capitalism can be equated with Lacanian theory of the Real^[5], it again seems to close down access to it further still. It is opposed to reality, which encompasses the Imaginary and the Symbolic and it is located beyond them, out of reach, but exerting influence. It is undifferentiated, without fissure, always in its place.^[6] It is impossible to imagine, to verbalize, to integrate in the Symbolic order. But perhaps this impossibility is the moment, the fissure, which can bring about its demise.

The signification of the Real is attempted in the Symbolic order, but is impossible. The Symbolic structures everything, and through repetition is subject to the death drive. That is, in its constant return to enjoyment the Symbolic transcends beyond pleasure in search of death. This could be seen as some radical call to accelerationism, a desire to weaponize capitalism against itself, and in a way it is, but not in the apocalyptic sense that accelerationism implies, pushing it to its extreme.^[7] Rather, a radicalism could exist in simply exploiting these impossibilities, finding weak points in rationality, and the supposed rationality of capitalist systems, in its inherent bureaucracy.

This Symbolic capitalism is contingent in regards to the Real; it does not spring from it^[8], but is created out of a desire to verbalize the impossible, to understand something that is impossible to understand, to socialize this intangible system. It could be said that it is impossible to speculate on the origins of the Symbolic once it is in place, generated as it is from a primal prohibition, a negation, le-nom-(non)-du-pere^[9]; once capitalism is in place, it becomes impossible to see an alternative to the universe it creates.^[10] This is mostly due to the all-encompassing nature of conceptual capitalism. Perhaps then, the ability to catch it in a paradox, in a state of bureaucratic failure, could open up a space to trip it up and think other and could offer a passage a l’acte.

other other other say it three times in the mirror

Employing the idea of a contingent conceptual capitalism, that is, one which is not necessary, which is indifferent to existence, one can argue that in fact it is very possible to think of the other to capitalism. It is logic and rationality that trips it up, that prevents any thought of the alternative, just as it is strictly impossible to think infinity, or an ancestral time prior to human existence. Science can prove facts about both ancestral time and descendant time (prior to and after the death of consciousness), but philosophy is paradoxically stuck with the idea of a relation to the world before or after the existence of thought^[11]. How can thought think the death of thought?^[12] According to Hakim Bey it is impossible to really conceive of death – it appears rather as ‘an unpleasant vagueness’^[13] – the death considered is never actual death. Similarly, how can one think anti-capital from within conceptual capitalism? 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.

A speculative and realistic approach to thinking capital can restore our ability to resist.

Once it is granted that the tension between equality and liberty cannot be reconciled and that there can only be contingent hegemonic forms of stabilization of their conflict, it becomes clear that, once the very idea of an alternative to the existing configuration of power disappears, what disappears also is the very possibility of a legitimate form of expression for the resistances against the dominant power relations.^[14]

If conceptual capitalism encompasses everything, there is less and less physical space for resistance, unless resistance moves into the conceptual realm as well. The idea, the imaginary, the psychical: these all offer a variety of forms of resistance to a boundless capital. For the concept, in its true dematerialized form, is capable of altering systems, of bolstering illogic, of predicting the future. It is the very boundaries of thought, beyond which lies psychosis (the lack of the Symbolic, or capital) that prove to be integral in terms of non-knowledge and the unknown, a knowledge of the unknown, or a thinking of the impossible. Perhaps lies, fiction and the radical un-real can be the site of production for a capitalist alternative.

Ideas are characterized as both distinct and obscure. They are distinct insofar as they are perfectly differentiated via the reciprocal determination of relations and the complete determination of points – but obscure because they are not yet differenciated – since all Ideas coexist with one another in a state of virtual perplication.^[15]

Ideas are simultaneously two things, distinct and obscure. Graham Harman introduces the idea as something not only possible, but actual insofar as an idea is thought as an image. This introduces all things possible to the realm of the actual, even if only in thought.^[16]

The contemporary mantra of risk management as a fundamental economic strategy is in itself paradoxical. If, in fact, a risk could be managed, then it would not really be considered a risk. This term depends on the belief in an organized system of capitalism that extends both directions through time – the idea that it is a constant that can be depended upon, is predictable, forever. In fact, the amount of bureaucracy that goes into even the tiniest element of conceptual capitalism manifests itself through many circular moments, many points of fissure. In compatibility with Gödel’s Theorem of incompleteness, no system can be totally defined without incurring some kind of paradox. There will always be statements that are true, but that cannot be proved within the system. If the system is capable of proving certain basic facts, then one particular truth the system cannot prove is the consistency of the system itself.^[17]

Risk management is nothing more than a reaffirmation of our collective belief in the predictive qualities of financialization, our collective consent to the idea that an intangible, unmoored, all-encompassing economic system can be predicted. In fact, prediction alone is a falsity that humans fall prey to frequently; the notion of the future as anything other than a continuation of the past is a mental operation at which the mind continues to fail. When thinking of tomorrow, the mind just projects another yesterday.^[18] The future, or rather a human relation to the future, is deemed philosophically impossible. After all, how can consciousness think something devoid of consciousness?^[19]

It is impossible for thought to think an object or event in-itself – in this sense, thought can only experience a relation between the subject and the object-as-given. Lacan argues in his fifth discourse that we do not derive libidinal enjoyment from object relations, but rather it is capital’s link of subject-to-object that frustrates and isolates the subject. Capitalism is successful in the sense that it produces a continual desire, but no longer satisfies it, which for Lacan – and a world full of neurotics – falls in line with our drives.^[20]

Lacan also reorients Marx’s analysis of surplus value. An older, more tangible form of capitalism sold objects for more than it cost to make them. This ‘surplus value’ is what Marx stated that the capitalists stole from the proletariats – it was used by the capitalists for leisure or libidinal enjoyment. Now, capital demands this surplus value to be re-invested at the level of production to create an unrelenting, perpetual motion machine of production and consumption of money by a business in-itself. We are now, according to Lacan, all proletariats, subject to the will of capital that has taken over the role of master from the capitalists themselves.^[21]

The debt circulates on its own orbit, with its own trajectory made up of capital, which, from now on, is free of any economic contingency and moves about in a parallel universe (the acceleration of capital has exonerated money of its involvements with the everyday universe of production, value and utility). It is not even an orbital universe: it is rather ex-orbital, ex- centered, ex-centric, with only a very faint probability that, one day, it might rejoin ours.^[22]

This faint probability is the only thing tying us to capital.

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Bartlett, Monica Y., Aida Cajdric, Nilanjana Dasgupta and David DeSteno, “Prejudice from Thin Air: The Effect of Emotion on Automatic Intergroup Attitudes.” Psychological Science 15, no. 5 (May, 2004): 319-324.

Baudrillard, Jean. Global Debt and Parallel Universe. Translated by Francois Debrix. http://www.egs.edu/faculty/jean-baudrillard/articles/global-debt-and-parallel-universe/ (accessed April 4, 2011).

Baudrillard, Jean. Radical Thought. Translated by Francois Debrix. Edited by Sens & Tonka. Paris: Collection Morsure, 1994.

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Bradley, Will. “Guarana Power.” in Self-Organization/Counter-Economic-Strategies, edited by Bradley, Hannula, Ricupero and Superflex, 311 – 333. New York: Steinberg Press, 2006.

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Brassier, Ray. Nihil Unbound: Enlightenment and Extinction. Basingstoke: Palgrave McMillan, 2007.

Critical Art Ensemble. Marching Plague: Germ Warfare and Global Public Health. New York: Autonomedia, 2006.

Declercq, Frédéric. Lacan on the Capitalist Discourse: Its Consequences for Libidinal Enjoyment and Social Bonds. Psychoanalysis, Culture & Society 2006, 11, (74-83).

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Featured image: Martijn de Waal, co-founder of The Mobile City, introduces the conference (image courtesy Virtueel Platform)

On Feb. 17^th Amsterdam hosted Social Cities of Tomorrow, a conference on new media and urbanism. Adapting its title from Ebenezer Howard’s Garden Cities of Tomorrow, but taking equal inspiration from the work of Archigram, the conference presented a snapshot of the direction cities are moving today: as conventional means of planning and designing are renegotiated through our engagement with new media technologies:

www.socialcitiesoftomorrow.nl

Organized by The Mobile City and Virtueel Platform, the event showcased best-practise examples of the use of media in urban analysis, design, art and activism. These ranged from “Homeless SMS”, a text-messaging system designed to provide information to the 70% of homeless Londoners who own cell phones; “Amsterdam Wastelands”, an on-line mapping of disused sites in Amsterdam and Zaanstad; “Koppelkiek”, a game project in which residents of a troubled area of Utrecht collected “couple snapshots” (in couples of friends, relatives or complete strangers), promoting social interaction through play; and “Urbanflow”, and New York-based project to rethink the contents of urban screens. In all, a dozen such projects were presented at the conference.

http://www.socialcitiesoftomorrow.nl/showcases

Immediately preceding the conference an intensive three-day workshop took place at ARCAM, the Amsterdam Centre for Architecture. This event brought together two dozen interdisciplinary creatives from around the world to tackle urban issues in four current case-studies: Haagse Havens, Den Haag; Zeeburgereiland; Strijp-S Eindhoven; and the Amsterdam Civic Innovator Network (a proposal to open up Amsterdam’s civic resources to distributed control by citizens). Working with local stakeholder organizations, the participants brainstormed how to leverage new media to solve intractable or new problems in these real-world sites.

http://www.socialcitiesoftomorrow.nl/workshop/the-four-cases

Also at ARCAM, a roundtable discussion on the alternative forms of trust emerging out of new media conditions was held, with panelists (below, left to right) Tim Vermeulen, Henry Mentink, Rietveld Landscape, Scott Burnham, Michiel de Lange (image courtesy Aurelie).

Keynote speakers Usman Haque, Natalie Jeremijenko, and Dan Hill concluded the conference with a panel discussion that placed the presentations in the context of distributed technology, contemporary art, social innovation, and architecture (image courtesy Virtueel Platform).

Featured image: ‘Promised Land’ design of transmediale 2k+12

Everything is not connected was the title of one of the talks organised as part of the in/compatible symposium at transmediale 2k+12 (2012), precisely the keynote speech of Graham Harman for the section titled systems. But this year’s programme of transmediale was all about connectedness, or I’d better say, about a curatorial structure of connectedness and subtle linkage.

The festival’s format was one of visual and conceptual reminders, and this became evident at the very beginning and during the opening ceremony, in the auditorium of the the Haus der Kulturen on the 31st January.

At the moment of opening a power point presentation, the new artistic director Kristoffer Gansing seemed to experience a technical problem as his file would not open. A technical assistant was then called on stage to fix it, and while we all giggled and looked at each other thinking that this was somewhat like a paradox for a festival devoted to the exploration of art, technology and media culture, we soon realised that the dooming technical failure was a pretext for one of the Prepared Desktop performances by glitch-artist jon.satrom.

Thus, from the very start, we experienced what Gansing often defined as a festival which “is an incompatible being”, suggesting that the 25th edition of transmediale would be different, perhaps more oriented to a multidirectional engagement with its audience and, surely, aimed at making us aware of how much technology is intrinsically part of our everyday lives – physically, mentally and also politically. It seems that Gansing had worked towards making us feel like explorers in order to experience what he described in his curatorial statement as the “in/compatible moment”, the “moment of stasis” resulting from the clash between things that were supposed to flow and converge peacefully within a system. That unforeseeable clash generated by an incompatibility which, according to him, is to be seen (and perhaps also sensed) as a moment full of potentials, as a gap which allows a new rearrangement of the elements of a given system – be it artistic, social, economic or political.

This ‘curatorial tactic’ marked the rich programme of transmediale 2012, which spanned from exhibitions to academic research networks, from online artistic interventions to talks and live performances – worth a mention is also the overall design of the festival’s contextual material, called the Promised Land design theme, which with its retro digital-pop aesthetic [1] seemed to have been devised to reinforce the idea of the clash, the tensions at work within the notion of technological convergence (“the myth” of contemporary society), starting from the very aesthetics of it.

The connectedness I mentioned above is very tangible when looking back at the main themes discussed at the in/compatible symposium – which was divided into three thematic segments:
systems, publics and aesthetics – in that they could be found as extensions across the whole programme, which in turn was developed across six sections:

1- the exhibition Dark Drives. Uneasy Energies in Technological Times curated by Jacob Lillemose

2- The Ghost in the Machine performance programme curated by Sandra Nauman

3- the video programme Satellite Stories curated by Marcel Schwierin

4- 25 Years, a series of events, amongst which talks and video screenings, about “areas of conflict between old and new” that were devised to mark the 25th anniversary of the festival

5- Featured Projects, a series of special parallel projects, such as web-based and site-specific
interventions

6- last but not least, the new addition of reSource for transmedial culture, an “interface between the cultural production of art festivals and collaborative networks of art and technology, hacktivism and politics” presented as a series of ongoing events (workshops, discussions, lectures and performative interventions) curated by Tatiana Bazzichelli.

Taking a step back to look at the overall thematic framework of the festival before digging into the specifics of each programme, what should be emphasised is the effort that was made to strengthen the transdisciplinary nature of the festival as a whole. In fact, each section of the programme inserted itself into the wider discourse of cultural production; putting a stress on how deeply technology is intertwined with the every day while looking at the relationship between art and technology from a socio-economic and political perspective that was permeated by an historical orientation. And the latter is precisely what makes this 25th edition different from those I had experienced before.

Gainsing’s perspective – as it was often stated by his collaborators throughout the festival – is that of a media archeologist; and in this sense he occupies a specific place in the media theory-scape of the city of Berlin, which houses the Institute for Time Based Media (Berlin University of Arts) where Siegfried Zielinski is the Chair of Media Theory. As many might know, Zielinski is the theorist who coined the term (or better still, founded the field of) media archaeology with his book Deep Time of the Media (MIT Press, 2002). I would then say that the methodological approach of the artistic director, as well as that of the four festival’s curators, was the one which looks at a present “linked to a past pointing at a possible future”, adopting a perspective that is different and finds “something new in the old” rather than seeking “the old in the new” (quotes from Zielinski, 2002). This is probably the reason of the festival’s holistic character, of the existence of critical and aesthetic linkage between the various panel discussions and performances, research projects and art installations.

The in/compatible symposium

This year’s symposium, across three different but converging angles, looked at the tension between functionality and disruption in order to address how the gap existing between the two has been (and could be) “productively used” by artists, as well as by society at large, in relation to available technology – mostly digital and web-related.

The strong connection existing between all panels – grouped under systems, chaired by Christopher Salter; publics, chaired by Krystian Woznicki; aesthetics, chaired by Rosa Menkman– was given by the historical approach of their explorations into the present. Their positions were those according to which it is not technology that impacts society, but it is almost the reversal: it is society – and artists – who, with their behaviours and actions, transform it, generating a new language and new possibilities within established systems, or failing systems. One way to embrace this type of perspective was described by Graham Harman in his keynote speech: it is through differentiating “between background and foreground” and bringing the latter “into consideration”, through accepting obsolescence as something inherent to the state of the technological thing and through embracing the fact that mediums change, that new ways of thinking and understanding reality can be established.

In this regard, the in/compatible aesthetics panels brought about interesting paradoxes in relation to media archeology and technological historicism, such as the necessity to move away from nostalgia for the past and avoid what could perhaps be termed as techno-romanticism. Through a series of panels, spanning from Uncorporated Subversion. Tactics, Glitches, Archeologies to Unstable and Vernacular. Vulgar and Trivial Articulations of Networked Communication, this section of the symposium presented a variegated array of artistic and research practices (from artist Olia Lialina to media theorist Jussi Parikka) that are concerned with establishing methods for challenging given systems, their codes and protocols, in order to establish new languages and modes of operation. All of them presented different artistic scenarios embedded in current socio-cultural frameworks, stressing the fact that “cultural history is shaped by users more than its inventors” (quote from artist and programmer Dragan Espenschied‘s presentation during the Unstable and Vernacular panel).

The publics section dealt with “forms of activism and social resistance” that emerge from incompatibility with the economic-political systems. In the instance of the Norifumi Ogawa in his talk Social Media in Disaster, during which he gave a very detailed insight into the “productive and effective” uses of social media during the recent Japanese earthquake and the consequent accidents at the Fukushima’s nuclear plant.

The exhibition: Dark Drives. Uneasy Energies in Technological Times.

According to the exhibition curator Jacob Lillemose, Dark Drives  “explores the idea that uneasy energies exist in technological times” and offers “a thematic reading and an historical mapping of the last fifty years, expressing a critical attitude to existing phenomena as well as exploring possibilities of reinvention”. And it does so with “no promise of overcoming” them (quotes from Lillemose’s curatorial statement).

In fact, the exhibition included works by 36 artists spanning different cultural fields as well as periods. The inclusions ranged from Ant Farm’s Media Burn, Chris Burden’s Doorway to Heaven and William S. Burroughs/Antony Balch’s The Cut-Ups (late 60s and 70s) to Art 404’s 5 Million Dollars 1 Terabyte, Constant Dullaart’s Re: Deep Water Horizon (HEALED) and jon.sotrom’s QTzrk (2010/2011), all while moving through the practices of artists attached to the net.art movement, such as Heath Bunting’s Skint – The Internet Beggar and JODI – the latter with a new light installation, LED PH16/1R1G1B, dated 2011–. Included were also works produced in the 80s by music bands like SPK with their Information Overload Unit. Not only, but the show also presented works which are usually not associated with the conventional art circuit, such as the TV programme Web Warriors produced by Christopher Zimmer (2008) and the music video Come to Daddy by Chris Cunningham/Aphex Twin (1997), along with, as a reversal, old(er) media-oriented work, such as the series of computer prints Leaves by Sture Johannesson, which can be read as early pieces of conceptual art.

This condensed list is to say that the amount of artistic and cultural material on display in the exhibition and the trajectories that it opened were broad to such an extent that Dark Drives functioned more as a general narrative survey than a show with a clear proposition. It was a survey of how uneasy energies might materialise as consequences of the modes and methods in which technology is used and understood, with no much distinction drawn between technology in electronic, computational or digital times.

Dark Drives did not aim to address further its initial statement, nor to narrow down the kind of relationships (and their reasons) between historical instances and contemporary ones; and from my perspective this was its flaw. However, this is the kind of exhibition that a festival like transmediale eventually needed, because to my knowledge this sort of display and curatorial approach had not been presented before: an exhibition which finally embraced the inclusion, with no hierarchies or differentiation in terms of choices of display, of works conventionally shown in gallery spaces along with those traditionally related to (ahem) the still-existing ‘niche of new-media experts’.

Dark Drives might not be a very daring exhibition if placed outside the context of a media art festival like transmediale, but it is certainly almost subversive in this context, and in comparison with its precedents. The exhibition installation was clever and atmospheric and, as it was for the festival’s format, it was dotted by visual and aesthetic reminders. I’ll give you an example amongst many and various ones that you could have spotted in the show: formulas by Peter Luining (2005), which is a video about manipulating a screen-grabbed image in Photoshop till it becomes a black screen, was shown just a work before jon.sotrom’s Qtzrk (2011), another video based on the process of image deformation – in this case through the use of QuickTime 7; the latter, was, in turn, shown just another work before Heath Bunting’s Skint – The Internet Beggar (1996), a website that operates as a service through exploiting the potentials offered by the network system. The three works all adopted the framework of computer desktop as a display platform for their artistic interventions, but also as a production space. And although each artist’s agenda and research area were different, their proximity made these distinguishing elements more evident, highlighting various ways of activating modes of production that diverge from those of the system within which these artists operate.

Similarly to what I have just described, it was Dark Drives as a whole that guided the visitor all the way through its display towards specific thematic directions, which were suggested by the installation in conjunction with the many visual and aesthetic links. But simultaneously, the visitor would also be free to follow the other and many trajectories arising from the content of each specific work, and this flexibility made the exhibition an attractive narrative territory ready to be employed for further explorations.

reSource for transmedial culture

This section of the programme has been devised as an ongoing project by curator and researcher reSource is an initiative that started before transmediale festival with the gathering of an international network of PhD researchers for a conference and workshop held at the University of Arts in Berlin last November. The outcome of this collaborative network was launched on the second day of the festival, in the form of a research newspaper titled World of the News – Thank you & Goodbye . This newspaper operates as a platform in which an array of researcher, most of whom practising artists, presented a series of essays and interviews looking at the “unresolved questions and paradoxes of media technology” and how they might impact (and redefine) not only artistic production but also research processes and academic conventions, such as peer-review systems or the definition of what is currently accepted as ‘proper research’ within the academia.

World of the News gathers a very well-thought through research material, and it does challenge academic formats, bringing forth the necessity (and preciousness) of collaboration and dialogues across disciplines, forms and formats.

The above is only one of the activities that were part of reSource; in fact, its programme was divided into five different sub-themes, Methods, Activism, Networks, Markets and Sex, each of which ranged from panels to presentations and workshops.

One of the proposed panel was titled Coded Cultures – Sub-Curatorship Beyond Media Arts and drew on a previous event organised by the group 5uper.net in Vienna, Coded Culture: The City as Interface (2011). Although aimed at addressing questions about curatorship and media art festivals, thus the public sphere, I wonder why curatorship as a practice within the field of new media and, supposedly within what was termed as “beyond new media art”, were not discussed more in depth, especially given the changes that transmediale exhibition itself proposed. If Joasia Krysa presented her specific approach to curating as a system that is informed by technology and thus embraces its inherent systems, like software codes and protocols of Internet and digital technology, in order to change the hierarchy of power; the other invited curators seemed to lack a depth in the discourse. The whole panel unfortunately stranded in general statements such as “technology changes the role of the curator” or “the curator does not want to define itself as a curator anymore, but as a coordinator and a producer”; a cliched conversation that – opportunely – ended with Krysa throwing on the table of discussion Christine Paul’s definition of “curator as filter feeder”.

Many other were the events presented at transmediale, such as the visually stunning, and purely analogue, performance of Joshua Light Show for the The Ghost in the Machine performance programme . At different times during the week of the festival Joshua Light Show performed with different musicians, such as the one man band Oneohtrix Point Never, bringing to light the beauty and magic that old(er) media can (still) give to a public of a “transmedial” festival.

As a final round-up, it is also to be noticed that in/compatible embraced slightly more extensively the sphere of online production and distribution, specifically in conjunction with the 25 Years, Satellite Stories and Featured Projects programmes.

If when browsing the transmediale website you experience some strange episodes, such as pages merging into each other when scrolling up and down, that is because of a site-specific intervention by Danja Vasiliev and Gottfried Haider – the developers of a Content Manipulation System called HOTGLUE which allows to construct websites directly in a web-browser.

Also as part of 25 Years there was a video installation <collaborative documenting / archiving on netart.activities> initiated by artist Constant Dullart and art historian and artist Robert Sakrowski. The duo had devised an open database system which employes YouTube as a repository for net.art projects. This project tackles issues related to hardware and software obsolescence in relation to the (often impossible) access to early net.art projects, and proposes a way of archiving them by filming an ‘audience-in-action’ during the browsing; a strategy which is also useful for tracking users’ behaviours and thus highlight the changes brought about by technological development. Dullart and Sakrowski also led a workshop at the transmediale headquarter, as well as presenting their work during the panel discussion web.video the new net.art?.

As a last mention, the video programme Satellite Stories was launched at the opening night with Screening Re-enactment Videospiegl, a looped video screening which connected the present of the festival with its history, its archive. In fact the festival first opened in 1988 as VideoFilmFest, and the Videospiegl selection of early videos is now accessible on transmediale website; hopefully marking the start of an archive which will be online and for all.

The online activity described here is certainly not enough for a festival like transmediale, which should investigate thoroughly the relationship between art festivals, artistic production and online distribution; but at least it seems a start for what is a much needed new exploration to be carried out by the organisers.

There is one more issue that I feel was only and often superficially addressed by this edition of transmediale. There were many mentions, in theory, of capitalism and its ramificated systems, such as the closeness of network systems which before were open and the consequent failure of techno-utopian ideals. However, there was little evidence of this in the artworks on display, nor in the site-specific installations presented. I don’t support the idea that artists should be literally political, or activists, but when I experienced jon.satrom’s performance at the opening, it came across as a sort of exercise in showing what can be done through bending technology to generate new languages and approaches to that which is established. In a way it reminded me again that we often operate within boxes, and rarely attempt to challenge the form and format of what is given to us. But then, most of us already know this. And although in/compatible as a festival did not want to give answers but generate a context for formulating questions, as Gainsing specified in his presentation, I felt the need of a next step, a step made of actions, which to me was only fully present in the reSource programme of Tatiana Bazzichelli. When I rethink of jon.sotrom’s performance, and I am very aware I am using him as an example to point to a larger scenario (my apologies to the artist!), I cannot refrain from thinking that the system he was challenging was that of an Apple Macintosh software, built on visual tricks like Spaces, Mission Control, etc; a system that perhaps needs to be challenged at a deeper level since, for instance, its reliance on the exploitation of developing countries workers?

This is just a final thought.
That said, I am really looking forward to seeing how transmediale will move forward, will it take the next step from this initial change?. It will be interesting to see how this merging of historical perspectives, academic research and artistic innovation will stir up more conversations and, as I said, more actions for another exploration of the relationship between contemporary cultural production, media and technology.

Please note: since the richness of the programme, I have highlighted my personal experience of the festival, so that this review highly reflects the choices I made about what to attend and what I (unfortunately) left out from my jammed daily schedule.

Michael Szpakowski’s “Lawrence Weiner Erasure“, 2012, presents itself as an erasure of Lawrence Weiner’s “A RUBBER BALL THROWN ON THE SEA“, 1969. It takes the form of a handwritten text on a drawing pad accompanied by the ballpoint pen used to write it and an edition of framed photographs of them.

The best known act of erasure in twentieth century art is Robert Rauschenberg’s “Erased de Kooning Drawing“, 1953. The young Rauschenberg visited Willem de Kooning at the height of the latter’s fame and asked for a drawing to erase. de Kooning obliged, but ensured that Rauschenberg would have his work cut out by choosing a drawing that would be particularly difficult to erase. It took Rauschenberg a month to get the paper almost free of marks (its catalogue entry lists the medium as “traces of ink and crayon on paper”).

This was a clear act of iconoclasm and generational positioning by Rauschenberg but he was not reacting negatively to de Kooning’s work or fame. Rauschenberg had previously been erasing his own drawings but felt that this lacked creative tension. Using a de Kooning drawing gave both an aesthetic and an artworld weight to the act of erasure. Although fitting neatly into the historical era of Neo-Dada, its relational and performative content can also be read through the lens of the conceptual art of a decade later.

Conceptual art’s journey from institutional critique to critically important part of contemporary art institutions is a cautionary tale for artists with any kind of political or social aims. In the nineteen-sixties it must have seemed that an idea typed on office paper or published in a photocopied journal could never be sucked into the market for authentic artworks as defined by Greenberg’s ideas of painting and sculpture. When Art & Language were recently asked to authenticate what a dealer had been told were previously unknown prints of theirs from the sixties, they pointed out that they must be fakes as they were on “good paper”. But the very difficulty of acquiring and preserving early conceptual art, both for collecting by private collectors and for display by public art institutions, has made it increasingly appealing and valuable precisely because of its lack of physical quality.

Many artists have followed their work through this transition, the artistic equivalent of an indie band turning to stadium rock as their audience grows. Lawrence Weiner started out in the 1960s making (or in fact not making) such works as “ONE STANDARD DYE MARKER THROWN INTO THE SEA”, 1968, and “A REMOVAL OF THE CORNER OF A RUG IN USE”, 1968. These started naturally as happenings-era proposals for performances and installations that were never made, instead becoming art in themselves. Over the years Weiner responded to the need to display these simple texts in increasingly grandiose public contexts with increasingly large typographic arrangements painted onto or cut into walls and floors. I appreciate Weiner’s work but it is easy to appreciate the criticism that it has progressed more in the scale of its presentation, than in its form or content.

Against this backdrop of institutional recuperation and inflation of the history of conceptual art, Michael Szpakowski has turned to Rauschenberg’s erasure and Weiner’s concepts. Rather than recreate the current large-scale installations of Weiner’s texts, he has gone back to conceptual art’s simple material and conceptual roots with a hand-written text. I initially read the tone of voice of that text as the artist’s own. In fact it is not (as he pointed out in a private email exchange). It is a conscious part of the aesthetics of the piece and the effect it must create in order to persuade the viewer to enter into the imagined actions that it describes.

Those actions serve to undo, or erase, the action described in Weiner’s original. They undo both the action and its formal properties. The experience described in Szpakowski’s text is of a different duration and character to that described in Weiner’s. The length of Szpakowski’s text contrasts with Weiner’s gnomics very clearly. It also relates to the thoroughness required to erase a vivid drawing or concept. And it is a product of the requirement to create the mental self-image in the audience of standing by the sea waiting, to really create that concept in someone’s mind. This requires a number of words longer than “stand by the sea and wait for a rubber ball to drift into view”.

Using handwriting rather than wall-sized cut vinyl letters reproduces the Johns/de Kooning power relationship in the form of an aesthetic relationship between the simple recording of an idea and Weiner’s increasingly grandiose and expensive typography. It evokes Weiner’s humble (but authentic…) beginnings and brings this into tension with the artworld monster he has become. This is a dialectical art, of aesthetic and conceptual tension and what they generate. Though it may seem to be more about the artworld than about geopolitics (as was the case in Art & Language’s Cold War-era “Portrait of Lenin In The Style Of Jackson Pollock”), the artworld and the careers within it are a reflection of broader socioeconomic changes.

Making an edition of photographs emphasizes the work as competent contemporary art given the increasing prevalence of editions in the art market. The contrast between the edition and the physical original draws in the economic and social relationships between the privileged individuals who pay for and experience the work itself and those of us who just see photographic records of it in galleries, books and magazines. The digital image is also Lawrence Weiner Erasure available on Flickr as a Creative Commons Attribution-Licenced download, making it Free Culture as well. This sits in further tension with the idea of an edition. And it is an important moral statement when making work by excercising one’s right to commentary on and reference or depiction of the work of previous artists, protecting the rights of future artists and critics to do so in turn.

Lawrence Weiner Erasure – a work of conceptual art

An erasure of Lawrence Weiner’s ‘A RUBBER BALL THROWN AT THE SEA’ 1969

Download/Print the photo: free, help yourself

Framed photos, limited edition of five (four currently available): £100 each

Drawing pad, with text and ballpoint pen: £750

Raushenberg and Weiner are two favourite artists of mine (although I can’t stand Rauschenberg’s comic strip panels). More to the point, they are well known within the artworld and their institutional histories are useful critical resources. “Lawrence Weiner Erasure” is an aesthetically and conceptually literate and effective mash-up of the form of Weiner’s art with the content of Rauschenberg’s that expresses an important critique of the history and experience of conceptual art.

The text of this review is licenced under the Creative Commons BY-SA 3.0 Licence.

How many New Years can a world survive before it crashes into a recession? We ask ourselves this question right before the most commercialised of all holidays, facing the year in which the world recession which has gripped the Western hemisphere for the past two years is about to officially knock on our doors. Senka Anastasova, Ph.D. in Philosophy from the Sts. Cyril and Methodius University from Skopje, Media Culture Analyst and Head of the Center for Humanistic Research, says that holidays represent a glamorous festivity of the consumer society that we all live in – culturally, economically and politically.

Jasna Frangovska: What do the Christmas and New Year holidays say about consumerism?

Senka Anastasova: We live in a period of automated consumer democracy, of fast-moving consumer capitalism. All issues must be resolved on the spot, now, immediately. We consume consumeristic desires, as Zygmunt Bauman puts it succinctly, or rather we experience desires that demand to be grafted onto other desires. There is a joke on this subject, that is in fact not a joke. It happens in one of the many megamalls that operate today. A whole queue of people are lined before the cash register, holding bags in their hands. In the background you can hear the constant playing of a recorded message saying: “Repeat after me: We are free, we are free”. As midnight is fast approaching, the shopping spree reaches panic levels. This type of disorder only gets more emphasised during times of inflation. In these types of situations, it is necessary to confront not only the rigid economic discourses, but also the cultural, economic, and political philosophy of neoliberalism. People have the need to express their freedom and creativity through the consumption and using of goods. However, the voice of the machine irritatingly expresses and reveals the profit-based corporative policies of this time of the year. Unfortunately, in the given context its message is that people are only free when they shop.

J: Ironically, then, New Year and Christmas would be the pinnacle of achieving this kind of “freedom”?

S: The perspective is warped. These past days, simultaneously with the world premiere of the animated feature “Arthur Christmas”, several protest debates were started in the US aimed at discrediting the credibility of the figure of Santa Claus. The main motto of the discussions is: “Santa Claus brings more gifts to the rich, rather than to the poor children”. Well, does anyone have the audacity to tell these “poor” excluded children about the new market conditions for the Clauses? What are they to do? Hire their own private chocolate managers? Balloon agents? PR teams for toys?

J: How does consumerism as a social phenomenon impacts the political environment?

S: Chomsky talks about a so-called moderate democracy which is related to the ideological and cultural concepts of the consumer industry. Even though consumerism is not anything new, especially in the US, it became for the first time not only an economic but also a dominant social and cultural phenomenon in America and Western Europe starting 40 years ago with the market expansion. Thus, the explosion of the neoliberal market ideology ushered in the current new era which serves as the paradigm for consumer capitalism. The emphasis has been put on the ideology of regular consumption, which puts both you and me in the same spot. We are all potential buyers, the spotlight is on us from an ideological point of view. Take, for example, the government’s marketing campaigns in Macedonia: “Knowledge is power and strength”; or the series of ads “Buy Macedonian products”. What are we talking about here? A tautological trick, a marketing syntagm, following a set of standards or “hijacking” potential customers for the purpose of confirming the prototype of the ideal of the “national” consumer? It’s quite obvious to see that the idea behind this is to create “pseudo-communities” of buyers which are relied on to affirm the sense of belonging in the name of the promotion of certain ideological value systems. Communication now is terribly controlled, directed, precisely coded. Is this kind of discourse just an introduction to the creation of the “ideal” profile of an enlightened citizen – consumer for whom the late capitalist system simply yearns. What, then, to do with the offal? It is quite clear that capitalism by itself is dynamic in essence, so it doesn’t take it long to find ways to multiply its capital and to turn consumption to its own benefit. But, it also faces certain tough atavistic reptile tails. I know some dear people to me who are not enamored being set up on such a “date”.

J: Then, what is the value in such conditions of social packages, one other regular fixture of the holidays? Is this just another beautiful image to sell?

S: This concerns a wider context of discussion. On the macro-level here, in our post-transitional country, we are undergoing a process of degradation of public institutions (education, health care, culture), their reduction to minuscule silent enterprises, with wide gaping mouths in shock, finally bringing them to the status of insolvency and utter bankruptcy. On the other hand, the pre-holiday dynamics help usher in the so-called diffuse spectacle of heaving rhythms, (non)-competitive products and the quasi-term and conditions of the elite corporations who are trying to reach out to the impoverished society for the purpose of turning (any kind of) profit. During this period, the cameras are sniffing out the “high and mighty” who come out of their offices with leather furniture, chewing on Mentos, to hand out wearing latex gloves social packages tied with red ribbons to the same people that they have made poor not long ago. With golden teeth sparkling in the spotlight. With their mustache, brimming with pride. Well practiced acts of generosity. These days we are witness to the doubling of the profit of the advertising industry. All New Year adds do is to generate the desire to shop. We buy products for their symbolical value (rather than for their use). We buy symbols and signs. The world is tamed into a prosthetic illusion. We believe intimately in the concepts that are being sold to us. Advertisements have become an imaginary space, bedrooms for the public fantasy where dreams are taken, designed and sold. Legitimate market strategy though this is, it still leaves a plethora of other issues hanging in the air.

J: Are we spending for the holidays money that we don’t have for things we don’t need?

S: In the hysterical rush of the sales everything matters, everything is urgent, fast and un-believ-ab-le. This is a time of shopping alarms and fluorescent figures. The small person in front of the giant flashing billboards. Faced with the market rollercoaster. Worldwide, the old supermarkets are closing down. We are becoming part of the hyper-hyper-post-markets. One click – one purchase. Reversibly, we are turned into the exhausted creatures of the new age. Every New Year, stampedes of shoppers are charging to buy gifts. In Skopje, services, discounts, sales, 1 for 2 packages are offered, mass-products of dubious worth. Yet, we buy obediently, without even thinking. Just look at all the people trembling in their winter coats, recycled ladies wearing cheap lipstick, the flower girl in front of the supermarket, a one-woman-enterprise. Ssshhhhh. No one complain. Not a word. Bite your lips. Keep quiet. Everyone must try to be a responsible and conscientious seller/buyer, to the best of his/her abilities, without thinking what might await around the corner.

J: How do the holiday decorations cover up the weaknesses of modern society?

S: Decoration, by definition, aims at being likable. Decorating represents compensation, but the problem is not in the decoration itself, but in the excess of cheap products with poor quality which create substitutes, a phantasm of values. The commercial kitsch aims to attract the consumer with its extreme assertiveness and tackiness. The final end is always to manipulate. A “faker’s” slap in the face. The bad product always trivialises the beautiful. However, the consumer knows how to resist, at least occasionally. It may sound contradictory, but I believe that in this recession decline there is still a sophisticated consumer population which has maintained their ability to make aesthetic-based choices. With refined habits. And nerve.

J: How many “New Years” (as a consumer concept) do a recession make?

S: Ah. Depends on how many “subjective” times of consumption do you experience. “Coffee, tea?” – you ask. We are constantly involved in the ultimate consumer process, shop till you drop. The consumer euphoria just intensifies the recession, but the clock will strike one last time and this whole bubble will burst and the maddening rhythm will slow down. I am curious what shall happen to the “European” consumer in the coming months. We are witnessing the continuous deterioration of the IMF concept, the rapid worsening of the financial markets, the destabilisation of the EU. There are several possible outcomes in the future. We will see how low can the ship sink without going under. This is a time when everyone should find one’s own lifeboat.

We wish to thanks Milan Damjanoski for tranlating this interview into English. mdamjanATyahoodotcom

Featured image: The Last Collaboration, cover image

Read The Last Collaboration online

“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. The story is told through Millie’s notes, emails, the daily diary she sent home, her posts on her Sporkworld blog, her mother’s log, and Millie’s medical records. These primary, often raw, documents are framed with medical notes and clinical guidelines as well as the outcomes of two NYS Department of Health investigations of Millie’s care. Millie wanted her story told. She wanted an autopsy performed if she died. Because of the autopsy, we have the story.

Introduction by Edward Picot

At 09:57 on the morning of 15th November 2009, Millie Niss sent an e-mail from her hospital bed to her parents:

…they have an inexperienced person treating the sickest patients… and by the time she knows enough to do a good job, she is burned out & ready for a part time practice. They should have inexperienced doctors treat the least sick patients, not the sickest ones… This is true in every specialty and I am sure patients die as a result.

She had been in hospital for two weeks, by her own account she had already come close to death, and in another two weeks her life would be over. Already she was unable to move, catheterised, usually in pain, and on a ventilator which prevented her from communicating verbally. Not many patients in her position would have the energy to analyse their own care, never mind write down their conclusions so lucidly. But Millie was no ordinary patient.

She was a writer and new media artist: she had been seriously ill with Behcet’s Disease for years – virtually a cripple – but her artistic powers were undiminished, and with the help of her laptop and the internet she continued to work and communicate. When she was admitted to hospital with swine flu, it still didn’t stop her writing and thinking. She actually sent off a contribution to a new media project from her hospital bed. She listened to WNYC during the day and BBC4 at night. She couldn’t talk, but she kept up a constant stream of e-mails and handwritten notes – to hospital staff, to her parents, and to friends online. She wanted to record everything and comment on everything. If she died – which she could always see was on the cards – then she wanted an autopsy, and she wanted the story of her death to be told.

The remarks quoted above show how acute she could be. She has put her finger right onto a recognised problem of healthcare – that the most complex and stressful cases are often looked after by the least experienced practitioners. Senior doctors are often all too glad to distance themselves from the front line as soon as they get the chance. In a way this is completely understandable, but as a result front line work is frequently characterised by an atmosphere of muddling through, which can rapidly degenerate into bluster, hysteria, bullying and panicky incompetence when the going gets tough.

This book is an account of Millie’s experiences at the front line during her final illness. She was hospitalised in New York State, but I can recognise many of the problems described herein from my own experience of the NHS in England, where I have worked in a doctor’s surgery for more than twenty years. The story has been assembled by Martha Deed, Millie’s longtime collaborator and Mom, using not only Millie’s e-mails and jottings, but her own own notes made at the time, her reflections since (which often take the form of poems), and the results of her subsequent investigations and complaints. In artistic terms the different elements are blended and balanced with great skill, and we find ourselves shuttling between documentary evidence, poems about bereavement, first-person narratives and nature-notes about birds, without any sense of incongruity or disjunction. The story unfolds both in the present tense and in flashback, both from Martha’s point of view and from Millie’s. It is a shocking depiction of how badly things can sometimes go wrong in a hospital.

Doubtless the hospital would argue that this is a one-sided account. They would also say – indeed, in their response to Martha’s complaints they did say – that Millie was not the easiest patient to care for. And leaving Millie’s case on one side for a moment, it has to be admitted that caring for the sick, especially in a hospital, is an extremely difficult job. Unreasonable behaviour from patients may not be the norm, but it is certainly commonplace. At least in a doctor’s surgery you can get to know your clientele over a period of years, and they can get to know you. In a hospital the turnover is much higher, and bonds of trust are correspondingly more difficult to form. People are generally sicker, which makes them more stressed; and relatives are more worried, which makes them more demanding. Furthermore some people simply cannot accept the realities of ill-health and death, and lash out or place blame as a means of relieving their feelings. Perhaps it’s not surprising, therefore, that some hospital employees come to regard the patients – and their families – with a mixture of nervousness and resentment rather than sympathy and helpfulness.

The best carers can deal with tricky customers without losing their cool. They avoid getting into confrontations and status-competitions with the public, and they treat the people they don’t like with the same meticulous care and respect as the ones they do. They are not only skilled and sympathetic, but detached enough to keep a sense of perspective at all times. They make good decisions in pressurised circumstances. They communicate clearly at every stage of the caring process. They admit their own shortcomings and seek expert help when they need it, instead of trying to bluster and bluff their way out of difficulties. Unsurprisingly, a lot of employees in the health service fall a long way short of this ideal; but what is less excusable is that some of them don’t even recognise it as the ideal for which they should be aiming.

What these pages make painfully clear is that although hospital staff are supposed to treat all patients the same, they can sometimes be prejudiced against certain types, for example the obese, who are often regarded as having created their own health problems. Furthermore, although they officially welcome questions and comments, in practice they tend to prefer grateful submissiveness, and there are those who interpret anything else as troublemaking.

Of course, Millie’s story mustn’t be taken as representative of what’s likely to happen to anyone who goes into a hospital, either in the UK or the USA, and it mustn’t prevent us from realising how hard people in healthcare generally work – a lot of them for not very much money – or what an invaluable job most of them do.

All the same, the situations described in this book will strike a chord with many people both inside and outside of the health care sector. One thing it lays bare is that the psychology of caring can be a disturbing subject. We are such touchy creatures, so desperate to justify ourselves and not lose face, so anxious to get the better of anyone who seems to pose a challenge, that in no time at all, even when another person’s health is at stake, we can forget our duties and become embroiled in a petty struggle for the upper hand. Furthermore power corrupts, and a health care worker is in a position of power, able to grant or deny favours, wielding the authority of the surgery, the hospital or the System itself.

And then there is the impossible-to-ignore feeling that the patients are making our lives a misery by forcing their demands upon us. Even outside the health system, when we are caring for our loved ones, our concern for them is rarely untainted with resentment – why can’t they leave us alone instead of pestering us for help all the time? So what chance is there that staff in a doctor’s surgery or on a hospital ward will be able to avoid upsurges of ill-feeling towards the patients, particularly when things get difficult? And once they have taken a dislike to someone, they may subject that person to obstructiveness, bossiness, bullying, uncaring treatment or even cruelty.

Hopefully, to recognise these impulses and their grounding in normal human feelings is the first step towards controlling them. Unfortunately, people coming into health care are usually given very little training in its psychological aspects, and what training they do get tends to be so simplistic that it’s difficult to apply in real-life situations.

Furthermore what happens on the front line, as Millie so shrewdly observed, is very often a knock-on consequence of organisational decisions made higher up. If senior members of staff use their seniority as an excuse for distancing themselves from the most stressful and difficult areas of work, then those areas are going to be looked after by juniors. Mistakes are more likely to be made, and although the senior members of staff won’t be the ones making them, they will be indirectly responsible.

In badly-managed organisations leaders and decision-makers tend to become detached figures issuing edicts from ivory towers, and because of their detachment those edicts become increasingly abstracted from the realities of working life. “Ordinary” members of staff are left to muddle along as best they can. Organisations like this are often characterised by high-sounding written policies which nobody ever reads or puts into action – and there are examples of such policies in this book.

In the best-run teams, leaders and decision-makers do not become separated from the rank-and-file: everybody communicates with everybody else, everybody plays a part in the decision-making process, everybody knows what’s going on and continuity of care is ensured. But this book shows what can happen at the other extreme: fragmentation of care, no coherent plan, rogue individuals doing pretty much what they like, poor communication, needless delays, and ultimately fatal errors.

Then there are the questions of incompetence and cover-ups. Nobody is immune from making mistakes, and the best individuals and institutions are able to recognise them and learn from them. Yet people in all walks of life just as frequently react to criticism with defensiveness and self-justification, or by simply brushing things under the carpet. Again, these are perfectly normal reactions in a way: no matter how rewarding it may be to learn lessons from our own failures, it is always an uncomfortable process, and our first impulse tends to be either to deny them or hurry away from them as soon as possible. In the health service this reluctance to acknowledge mistakes can shade into blaming patients for their own difficulties, or trading on the disinclination of relatives to trawl through the details after someone has died. The death of a mismanaged patient can even come to be regarded as a desireable outcome, since it usually has the effect of silencing criticism and drawing a veil over people’s mistakes. All of these things seem to have happened where Millie was concerned.

Needless to say, given its subject, this book can be a tough read at times. But it’s full of insightful comments – here are just a few examples:

Do not confuse personality or communication skills with medical competence. It’s great to have both, but the more important quality – absent personal nastiness – is medical competence. [Martha]

I have also gotten a lot of good care, but once you die or are terribly damaged it is too late to say “Most of the care was ok”. [Millie]

You would not believe how nasty nurses can be to people who are very sick and helpless. [Millie]

I am sorry, my dear,
but the leg you say is broken because it looks all twisty and it hurts…
is not broken
because we have met our broken leg target for the month.
[Martha]

As these quotes show, the style in which the book is written, even when the subject-matter is at its grimmest, is always natural and engaging. And although, in places, the narrative shows us some unsavoury aspects of human nature, Millie is such a living presence, and the relationship between her and her mother comes across so powerfully, that what we are left with in the end, paradoxically, is a sense of affirmation.

It is encouraging to learn that a medical professor in the USA is already planning to use The Last Collaboration as a training aid. It could well prove invaluable, not only as a cautionary tale of how things can go wrong in the health care system, but as a tremendously vivid insight into what it feels like to be on the receiving end when they do. Given the choice, Millie would undoubtedly have preferred to escape with her life rather than achieve this particular form of immortality. Nevertheless, she would certainly be gratified to know that her story was making a difference. It is a story which she desperately wanted to be told, and which needed to be told for the good of the health service and its patients. And almost all of us will be its patients one day.

—

Read Edward Picot’s article about Millie Niss on Furtherfield

Now, listen…

No archive is perfect. No one, I assume, will contest this claim – especially, in this day and age, where archives are everywhere and everything is miscellaneous (Wiser). It is a reasonable claim that this new way of using archives, socially and privately, has created a new understanding of what archives are – and what they are not. At least, it seems much more logical today to claim that any archive including the ‘grand’ and professional (scientific) archives of national and international libraries and museum are imperfect and even selective. People are selective in their choices and tastes and their archives are a mirror of their biases and behaviours. Personal taxonomies are contextualizing social networks. As a mirror of professional and scientific networks, it is easy to assume similar processes of (in this case academically grounded) choices and tastes taking place in the formation and construction of ‘grand’ archives.

My claim is that there are huge lacunas in the construction of the ‘grand’ archives, as well as in the construction of our ‘collective’ knowledge, and it would be tempting – if we consider the other end of the argument that Mark Wiser makes, which indicates that we may never bridge or fill all of them (the idea would be absurd) – to claim that none of it matters. The ‘homemade’ logic being that there is not anything interesting to find, anyway – and if there were, ‘they’ (the professional and scientific networks) would certainly know about it.

This paper argues that this is certainly not the case. The professional and scientific networks did not find, and do not know everything (!) – a lot of dynamic and significant cultural knowledge remain unheard of. Therefore, it is important and should be a priority to examine the lacunas and gaps (if we can find them) and understand them in a cultural and scientific context. Somehow they were excluded or sifted out of the ‘official’ construction of archived knowledge, and how and why this happened is an important scientific question to ask. Furthermore, the notion (it does not qualify as an argument) that only the important stuff made it into the archives, and that it only made it exactly because it was important, is as absurd as it is, almost, a dangerous (and not scientific) point of view.

In any case, the unheard avant-gardes are a part of the lacunas and gaps of the ‘grand’ archives. However, they are the very stuff of private and social networks and ‘small’ archives – to be considered as precursors (avant-garde) of the social media revolution. Maybe it is not until now that we are able to imagine the formats of an archive for ephemeral and mediated art practices – as well as other innovative and technologically experimental modalities of cultural production.

Becoming unheard…

What is an unheard avant-garde? Of course, the answer may be tautological: no one has ever heard of the unheard avant-garde, as it were.

And then again – rumours and curatorial intuition has it that private and ‘small’ archives around the globe are full of unheard stuff. In this case, I am focusing on the ephemeral, experimental, performative and intermedial art practices and projects by energetic project makers (often long since deceased) that never made it into the ‘grand’ archives – and, after a time, are forgotten, simply.

This project has the anterior purpose to define the modalities needed and methodologies to obtain them in order to reactivate, on a curatorial and humanistic level, the field of the ‘unheard avant-gardes’ (if it indeed is one field) – what are the categories? How do we describe them? Do they manifest themselves into (new) paradigms? And what would be best practice for metadating and documenting the field? Furthermore, these questions also point towards a more fundamental problematic regarding the definition and function of ‘art’ in a mediated cultural context and environment.

What is invested or, indeed, put at risk by reactivating the unheard? This is a question pointing back to the discussion of the transforming ontology of humanstic reception and its modality of ’archiving’ (a discussion I partake in another paper (Flexowriter…).

The Experimenal Avant-garde

Some remarks on my use of the Avant-garde concept.

A Classical approach would be to explore the history (of known representations) & theories of the avant-garde, describe and discuss in inter(con)textual views. Fine as this may be, however, there is a tendency to overlook or exclude the experimental practices of the avant-garde artists. Look at it as a production of new meaning or sensuous technologies, as it were, rather than something ‘finished’ and ‘fitting’ the (largely) ocular/text-based production of knowledge in classical academia and/or archives. The Avant-garde is never finished. It is always messy, and still searching, I would say, for the right eyes and ears – even after 40, 60, 80 years.

I would like to propose to make experimental avant-garde practices enhance the debate within the research in & of the History and Theories of Avant-garde Art. My approach – and transdisciplinary take on the avant-garde – is based on the assumption that the avant-garde practices in e.g. technology and sound was, essentially, part of the formation of a ‘media art’ – a kind of off-road history-in-the-making running below the ‘official’ history-as-it-were of art.

The modalities of this subterranean ‘media art’, or experimental avant-garde, are:

• Sensuous Technological Practices
• The Experiment
• Intermedia Art Practices
• Media Art Practices
• New Media Art Practices
• Nowhere are these modalities more acutely present than in the experiments with sound.

My research project focuses on three levels: how and why sound art became unheard (of) in the ‘grand’ archives?; what archive-formats are needed to ‘store’ the unheard avant-gardes (so they do not become unheard (of) again?; and how it may enter the sphere of the general public?

The silence of sound art is symptomatic of certain cultural, aesthetic and scientific paradigms that are inherited via the knowledge systems and epistemologies that define the institutionalized archive competences (Joseph Beuys, Michel Foucault).

How to change the traditional status of sound art, in archives and elsewhere: it has more often than not gone silent – out of reach for researchers and a general public.

The Unheard Avant-gardes project, then, focuses on a critical re-activating of sound art as an experimental practice – getting and letting the silent Avant-gardes out of the boxes and off the shelves – and into a network of digital distribution where it may be accessed, exhibited and explored – listened to – in detail and in a context.

Thus, I will claim, that to be ’unheard’ is a fundamental condition and premise for performative and mediated art practices – in the ‘grand’ archives (in the sense, that they are not ‘on the shelves’) as well as in the construction of the cultural contexts and social memories (history). I refer to the unheard avant-garde in the sense that it is experimental and in the forefront of a cultural and technological transformation in its day. It formed it’s own networks and worked from there. However, I do not intend to refer to the ‘avant-garde’ in the sense of a specific (artistic) genre or group or period or style or whatever (that may be). My argument will be that the unheard condition, and the reappearance of unheard avant-gardes and their (somewhat) hidden networks, is something that ’mirrors’ a change in the modes and modalities of the production of knowledge in a distributed, post-digital culture. Thus, the unheard condition is as fundamental an aspect in the understanding of the formation of ‘grand’ archives, as it is a key-element in an analysis of change and transformation of paradigms – and how science and art performs in and respond to those transformations. On one level, the existence of unheard avant-gardes is the mark of mediated, fugitive and ephemeral strategies and tactics in the art practices that emerged in the late 1950s and during the 1960s. On another level, it is a true ontological gap – and the reappearance of the unheard avant-gardes may very well prompt us to rewrite history.

It is about time we put an ear to the archive ground.

Ear (sensing archives)

To limit myself, I am putting a special focus on cases that turned up in my search after the particularly unheard (of) in the ‘grand’ archives: POEX65. First a note on how to search and identify the unheard avant-garde in (or, rather: outside) existing archives. I particularly looked for sound material from collaborative, performative, time-based, intermedia art, media art, and new media art projects from 1920s to present day; and I looked at small and private archives and triangulated what I found here – dates, persons, places, other artists – with the databases (or, in most cases, before 1983, written / printed records) of the Danish Broadcast Company and Statsbiblioteket (The Danish National Library).

I also put an ear to the collection of (inter)media art from 1950s and onwards at the Museum of Contemporary Art in Roskilde, of which I was the Curator between 1999 and 2008. This archive encompasses art, which is practicing “fusions of words, images and sounds”, often in different variations of performative, fluxid, conceptual, and mediated situations. The archival status is marked by varied and fugitive material, to say the least.

In my search I was also preoccupied with finding adequate framings for the categorization and contextualization of the archive (which was being established at the time and still is under construction), which (quite naturally, it seemed) proved inadequate on closer inspection and formulation. This certain affinity with the ear in the archive-context further sparked my interest in finding a systematics and methodology of the unheard; which, in turn, enhanced the attempt to implement a transdisciplinary practice and a sensuous technology into the core of the construction of the archive, allowing a dynamic flow of domains to establish themselves in a real time dialogue with an audience.

The sensuous material of sound, and the modalities of using the ears in new ways – exploring sonic perception – is the issue.

The Ground

The ontology of an archive of media / sound art. Two ontological factors: 1) Instability of the material (and its contexts); 2) The material is in need of reactive strategies in order to be ’heard’ or merely ’noticed’ by recipients. The unheard status is an unwanted, but nevertheless actual status of most of the media art material that is existing in the archives.

Key-instabilities of sound-based / documented media art:

• Documentation is a limited source with regards to site-specific, performative or otherwise ephemeral art works. Non-synchronicity. Conservation of such work is problematic in case of obsolete technology – staging today will be non-synchronous with initial production. Interaction with context – problem of authorship when art is originally realized in non-art spaces. The basis of “aesthetic” judgment has changed: To understand how a work of media-art was realized in 70s includes far more than an insight into its aesthetics and use of artistic materials. It is much more a question of what the judgment itself (that this is a work-of-art) is based upon – which often implies the art-institution and/or a description/ instruction or simply a “text”/ outline/ manuscript/score. The object of art is supplemented or even supplanted by information about the artist’s conception.

POEX65

POEX 65 was a transdisciplinary experiment and event, which took place in ‘Den Frie Udstillingsbygning’ (The Independent Exhibition Building) in Copenhagen, December 10-20, 1965. Short for ’POetry EXperiment’, POEX 65 was an exhibition event curated and created by Danish artist Knud Hvidberg (1948-91). It aimed at breaking the boundaries of art genres, the false division of professional and amateur, as well as the autonomy of the ‘work of art’ through the active use of technological and mediated platforms such as Flexowriters, Punch Paper Poetry, and Electronic Visual Music. As such, it was a very important event in Scandinavian media art history with more than 80 participants from 5 countries – many of whom became part of the leading class of artists in Scandinavia.

Nevertheless, POEX 65 somehow was forgotten – and almost erased from the academic memory and public archives.

The Danish Broadcast Company (DR) did broadcast two programs, of which at least one was dedicated to POEX65: ‘A Sunday’s Walk w. Ella Wang’. However, the tape with this particular program was not in the archives of DR anymore – erased or reused, or?… no one can tell from the records. It is simply not there: Truly, an unheard avant-garde!

Long story short: I managed to locate a taped copy of the program in the private collection of one of the participants at POEX65, Kirsten Lockenwitz. From that tape, I managed to get a number of other information that led me to other recordings – and, suddenly, we had sound! Slowly, POEX65 came ‘alive’ again – for the first time in more than 40 years.

A very important part of the POEX65 event was the large number of experiments with cross-overs between musical artforms, from electronica to beat, to other artforms. This may also explain why the event never became part of official records or archives – and was erased from the DR broadcast-archive: It was transdisciplinary before that word even existed… it was way ahead of its time.

From the sources available to us, it seems fair to establish as a fact that five ‘stages’ were active in POEX 65: The ante-room (visual poetry), the Large Exhibition Room (Happenings and Live Music), the Centre Hall (Theatre), the expanded poetry space (+ Flexowriter), and the so-called ‘Co-ritus’ Environment by Jørgen Nash, Jens Jørgen Thorsen, Hardy Strid and Carl Magnus). (Hvidberg, Invite to participate in POEX 65 (in danish) 1965) (Barbusse 1991) (Rubin 1987)

From the program, it is possible to collect a list of ‘new’ concepts for these crossover categories:

• Balloon Painting
• Beat Art
• Visual Jazz Poetry
• Visual Concert
• Visual Music / Sound
• Situational Painting
• Visual Painting (!)
• Sonic Painting
• Abcdia
• Performing poems
• Dia poems / Ligth poems
• Episkopical poems
• Punch Card Poetry

This is just a loose collection of the terms mentioned in the program and in other material… and it shows, I think, the boundary breaking range that the POEX65 experiment had as well as the amount of collaborative artistic, creative and intellectual efforts that were put into the project. They really sought to work across the different artistic sections as well – Fluxus, Situationists, EKSskolen, DUT, as well as Jazz, Beat, and Electronic Music, and amateurs and technicians / engineers etc..

There was a heated discussion over the issue of artists’ autonomy, which was written down by Knud Hvidberg. The Danish EKSskole wanted a space they could control, however Knud Hvidberg did not want that – but insisted on an open space for everyone (including audience and ‘amateurs’) where anything might happen. Finally, the EKSskole did not participate as a group in POEX65, but a number of the artists (more loosely) associated with EKSskolen did participate individually.

It is a fact, however, that POEX65 did manage to bring together a large variety of artists from all kinds of art genres and ‘ideologies’. And they did work together in a number of ways. So far, I have identified some 128 ‘actors’ – artists, engineers, dancers, musicians, active audiences etc. – that were part of POEX65.

Together with Knud Hvidberg and the Danish Visual poet Vagn Steen, Karsten Vogel was at the ‘centre’ of the POEX65 event. Since the early 60s, and together with two other Danish semioticians and theoreticians, Peter Madsen and Per Aage Brandt (the latter was also a jazz pianist), Vogel had run an informal ‘study-group’ of new tendencies and theories of collaborative work-formats and actions of art. POEX65, in many ways, fed into the ideas and thoughts coming out of that group – who also participated with an event during the 10 days of activies. Vogel, however, had his main role as the experimental jass-musician who inspired the music-paint-light situated works happening at POEX65. A short clip from Jazz News in december 1965 was recovered from the personal archive of Kristen Lockenwitz, from which you may hear a ‘glimpse’ of what was going on. From this recording we hear Vogel and Brandt playing in a set-up, where certain ‘signals’ or ‘motions’ by the painters or light-artists, triggers a chaotic outbrake of sounds from a number of acoustic instruments.

Another important (artistically experimental) grouping was centred around Knud Hvidberg, William Soya, and Hans Sandmand. Together, those three artists had made a number of technology-based exhibitions and projects since 1957 – and, even though William Soya did not participate in person at POEX65, it is him who introduced the Flexowriter into the context, and experimented with how to use it for art purposes (see Flexowriter…). Hans Sandmand, however, participated with a number of interactive sound installations – most noteworthy, perhaps, the Radar which was standing (and turning) in the central hall where people entered the space. When you pushed a button on the radar, a voice said: ‘I am looking for the great intuition’. In another work, a pile of used car tires revealed a mirror when you looked down into the pile – and, as you looked, a voice recording was activated, saying: ‘poetry is something you carry in yourself’.

Not all artists participated on the same level of collaboration. Not everyone was ‘living out’ the radical ideas of Knud Hvidberg about collaboration, loss of autonomy, and the ‘exhibition as show’. Even so, they all seem to adopt some element of the conceptual framing of POEX65, like the processuality and audience participation. A good example would be the Danish Fluxus artist Eric Andersen. He contributed to POEX65 with a number of original works. Among them, ‘Her Bathing Suit Never got Wet’ and ‘I Regret the Bad Circumstances for Recording’ were all sound recordings and part of the ‘record bar’. ‘Opus 51’ was a performative event operating within the Fluxus methodology and aesthetics. Photos exist showing Eric Andersen sitting in the ‘central hall’, waiting for the audience to arrive. This event made the audience actively collaborate in realizing the work by running through a combination of operations based on rules defined by Andersen.

Time and chance would make Eric Andersen well-known (and well-represented) in Danish archives, whereas William Soya, Hans Sandmand, and Knud Hvidberg – despite their visionary and innovative use of technology and sound as media in visual arts at a very early stage (for DK as well as internationally) – more or less went into obscurity. Lost in translation… from moving media and sound to text and (still) images.

(Re-activating) The Unheard

From all this, it appears that the Unheard Avant-gardes project is more than ‘just’ an archive project. It is as much a re-investigation of the fundamental conditions and status of ‘media art’ – the experimental avant-garde. As such, it may also be viewed as an attempt to re-configure (the academic ideas about) the relations between technology, media, and art, and write a theory of this re-configuration.

The reconfiguration is being put to a test when a number of ‘interfaces’ to the unheard avant-garde is presented (in a special section with focus on Scandinavia) at the exhibition TONKUNST – Sound as Medium for the Visual Arts in the 20th Century at ZKM (opens March 17, 2012).

The unheard avant-garde section will present three platforms. Each platform presents a notable and important ‘hub’ for the experimenting Scandinavian scene, in which technology, media and artistic practices are mixed and remixed into ‘sound art’.

The platforms are presented and designed by invited artists, as an independent work of art, or a new artistic platform, in such a way that the unheard avant-gardes get a voice in (the construction of) history.

For that purpose, I am operating with a methodology in three steps. 1) Instead of reENactments, which would focus on restaging artworks, I want to reactivate an entire event and context – including its ideas and methodologies. 2) I am dividing the reactivation-strategy into two modalities, Enacts and Reacts, which are focused on, either, the works and contexts of a single artist (enacts), or the idea and context of an entire event. 3) I am using ‘new’ media artists to reactivate the unheard media artists – adding a third element into the reactivation-strategy: that of re-working and re-actualizing works, technology, events and processes.

The first platform will focus on EMS (Elektronmusikstudion, Stockholm). Since 1964, EMS, formerly known as Electroacoustic Music in Sweden, prior to that known as Elektronmusikstudion, is the Swedish national centre for electronic music and sound art.

The second platform will reactivate the particular electronic aesthetics of Finnish Electronic Music Studio & Errki Kurenniemi (FIN). Errki Kurenniemi’s Electronic Music Studio was set up in 1962 with the vision of an automated composition system. In the 1960’s Kurenniemi built Integrated Synthesiser and in the 70’s, a series of custom built music instruments called DIMI.

The third platform will re-activate POEX65. It will include reactive radar, collaborative chairs, and a giant TONEHEAD as sensuous interface for an archive of the unheard avant-garde.

It is from this unheard status of experimental media art that the re-activation of the unheard avant-gardes finds its momentum: Not only in giving the unheard a voice in a number of ways, but also in addressing some fundamental issues concerning the way new transdisciplinary domains are renegotiated across disciplines and boundaries of competences. History will never be the same (again).

For more information visit: http://www.sondergart.dk

The video works of A Bill Miller seem to be at once futuristic and something recalled from our childhood (those of us who grew up with computers in some form or other) in what might be considered as a hauntological affectation that seems like a memory of the future from our childhood, with lines and simplicity of many early computer programs, forming complex ghosts of our pasts across the screen. These are a reminder that what computer graphics can do, doesn’t have to be composed of 3D, with million of vectors and a painful, failing attempt at verisimilitude. Just as theatre, with it’s artificial simplified set designs and symbolism. It can sometimes be more real, offering a greater empathy than a well designed and directed film. Often, there can be greater beauty and compulsion when engaged in simple works than those of greater complexity.

“We exist within a built environment that is constantly mediated by the grid. Grids organize space through coordinate mapping and patterns of development. Grids compress, redisplay, and reorder information. Grids are an enforcement system imposed upon both nature and culture. I respond to this ubiquity by creating gridworks. These forms examine the blurred boundary between the machine and the human – the tool of data collection and the interpretive mind.”

Like a lot of people, my first encounter with the work of A Bill Miller was on the small screen. Despite the numerous festivals and exhibitions that his works have appeared in¹, this may be the only chance viewers have to enjoy them. Which is a shame because they really work well when expanded on to a larger screen. Even if you only get to view them on a larger television screen, it’s worth doing. Even some of the work that is small in scale and scope, benefits from being shown on as large a screen as possible. It takes a broader and more encompassing screen to really engage the viewer completely into the work. For some of the black and white work, the overlaying of ASCII letters (reduced to just shapes when not ‘read’ as alphanumeric characters) shows how some works can explore the technical palette of the production software as possible. Which isn’t to say that some of the works aren’t also complex and (literally) multilayered.

There is a psychic landscape explored in Miller’s works. A landscape that feels as though it sits just behind the everyday, observable world we inhabit. Not in a David Lynch, behind the picket fence, kind of way, but inside the mind’s eye, at a point where the brain hasn’t yet coalesced the datastreams of visual stimulation into a recognisable image. It’s that in-between space that seems to at the heart of some of the Gridworks: the spaces between being held in check by the grids. And clean white spaces are beautiful in themselves, but they also divide the elegance of those lines so that the work is about those spaces and the tension of being held in check: stopping them from bleeding into one another. The psychic landscape they map out is the same one that we have to face everyday as we negotiate our way through the ongoing datastream of western life. Work, rest, work, rest, shop, consume. Those days that you feel as though you’ve experienced and understood everything and life begins to blur into one continuous event: all it takes is to step back and really focus on individual moments to remind ourselves that life is actually full of thousands of unique and wonderful moments.

Works like Gridfont 7 suggest that the elegance of a few lines carefully placed can lead to great complexity through simple juxtaposition and rotation of basic forms. Just like so many other things in life, greater complexity begins to emerge from a gradual build up of even the simplest of those elements. Some of the work begins as a few short, hand-drawn lines before they re-adjust themselves and become a hive of geometric shapes: a honeycomb forming from the arrangement and connection of lines. Some works have the colour-bleed of early video work where over-saturated colours refuse to hold their place in the ordered spaces and begin to wander slightly.

gridworks_textanimation2010 is made from pure ASCII text characters, and “transmits an unreadable message that is aesthetic and abstract.” It’s stark black & white play of the non-text elements of written communication gives the impression of loss and emptiness, like lines of communication broken down through digital channels. This could be extracted from a relationship being held together via email or it could be text messages sent between two unreliable narrators each hoping to convince the other of some shared moment. A line of Xs brings to mind censorship but the blank underlines suggest space for the other party to fill in the blanks that we don’t always admit to when trying to maintain the peace in a relationship. Things are constantly being said, but nobody is ever saying anything to each other. Those are the worst accusations of Internet communications but they’re just as guilty of being performed in every other channel. They just become more visual on the Internet and even more so in works like this.

In case these descriptions suggests that the works are dry and overloaded with metaphor and meaning, they can be enjoyed on their purely aesthetic merits. Gridworks2000-anim09 is a work that can only be described as beautiful in its elegance and deceptive simplicity.

Although these works are positioned within media art, they (like many moving image art work) could be considered as cinema (and let’s face it, cinema could do with a fresh burst from a ruptured blood vessel right now). These are part of a cinema of special effects where the use of computer graphics  enhances the moving image and steps away from verisimilitude. As mentioned previously, this lack of verisimilitude is part of the reality of these works. An added element of what makes them hauntological ghosts within the screen.

It’s imprinted into the very nature of cinema that it is a ghostly illusion or special effect, either computer generated or produced in the camera that belongs to every moment of cinema’s history. In fact it is even an illusion to believe that we are viewing an actual moving image when we watch a film or video. Either way, cinema is created on-the-fly by our own eye. The trick of creating moving images is to know how the brain responds to them and leverage that response to your own desires. The cross slicing of lines in Miller’s Gridworks feels so much like early computer graphics that at times it’s hard to step beyond thinking about technology’s desire for the new and the increasing momentum of the special effect algorithm and find the beauty in their simplicity. It’s in there and doesn’t take much effort to uncover. Like a good oyster in a restaurant, the reward can be unusual and pleasurable, but you have to get in and expend some energy to extract it.

2012

FILE RIO 2012, Electronic Language International Festival, Art Galery of Oi Futuro, Rio de Janeiro, BR, Mar 12-Apr 8th
Scan2Go, New Media Caucus year long online exhibition, Released at CAA 2012
<terminal> monitors, Austin Peay State University, Clarksville, TN, 2/20-3/2
A/Vworkssssss, One Night Event/Performance, Borg Ward Collective, MIlwaukee, WI Jan 3

2011

Streaming Festival 6th Edition, Het Nutshuis, The Hague, Netherlands, Dec. 1-18 2011
FestivalMulti2011_Especial – Curator David Quiles Guillo, Video Art Program, Rio de Janiero, BR, Nov-Dec 2011
Sheroes, One-Night Interactive Installations (Monthly), Toronto, CA, Nov. 18 and Dec. 23
GLI.TC/H Chicago – Live Video Performance, Chicago, IL Nov. 3-7
GLI.TC/H Program at FLIP Animation Festival, Birmingham, UK, Oct. 29
Punto Y Raya Festival, Museo Reina Sofia Madrid, November 3-6, 2011
BYOB Sao Paulo, Rojo Nova Sao Paulo, Oct. 29
Video On Paper Zine http://videoonpaper.tumblr.com/
3ra Convocatoria Belica, Valencia, Venezuala, September 2011 http://mvs.260mb.com/index2.html
I AM NOT A POET Festival, Edinburgh Aug.8-21 http://tkunst.wordpress.com/

Darko Aleksovski interviews OPA (Slobodanka Stevceska and Denis Saraginovski). OPA (Obsessive Possessive Aggression) is an artistic collaboration, based in Macedonia, whose focus is researching the social, cultural and everyday issues, as well as the ways of looking, thinking and behaving of a certain community in the shifting social and political conditions. 

Their project entitled “Bollocks” is a complex and yet very simple interactive installation, made out of a video/image projection in a room in which only one viewer at a time is allowed to see it. The project was first shown at the Authorial Through The Appearance 3 exhibition in Veles, Macedonia (2009). Then it was modified in a second version entitled as “Bollocks for Everybody” for the Small Gallery in Skopje, Macedonia. After that the project was shown at the fifth edition of the AKTO- Festival for Contemporary Arts (2010) where it was awarded with the annual Dragisa Nanevski Award for interdisciplinary achievments. The project was also shown in Studio Golo Brdo, Rovinjsko Selo, Croatia (2011). 

Darko Aleksovski: “Bollocks” is a project which was shown on several occasions in art festivals and group exhibitions. Once it was exhibited as “Bollocks for Everybody!”. Can you tell us what was first: its idea, or its title?

OPA: Our initial idea was to relate one specific phenomenon of the Macedonian cultural life: much stronger “gravitation” than in the other parts of the world. It means everything is much harder here, for every single “motion” connected to arts and culture, you need several times more energy compared to other places. It could be because of our institutions, or the specific mentality, or the geographical, political and economic situation of the country – it is a matter of larger analyses. However we didn’t have intention to speak about those reasons into this work, but simply to remind of the existence of the issue. That’s why the work (visually) is about seating and waiting. In the video-image we sit and endlessly wait for something to happen. And when the spectator enters, (s)he triggers the sensor and we both leave the image. So the spectator gets nothing and sees an image of two empty chairs. In the Macedonian colloquial speech you would say the spectator gets “tashak” or “tashaci” (Macedonian: ташак, ташаци). So that is the original title of the work – “Tashaci”, given when the work was completely shaped. “Bollocks” is the best English translation that we could find, but it still doesn’t represent the expression best.

And “Bollocks for Everybody” is the title of the second version of the work, created for the windows of Mala Galerija (The Small Gallery) located in a shopping mall in Skopje. 

For our solo presentation in Mala Galerija, we made two different settings of the same work: (1) On the windows of the gallery there was a projected video-image of two empty chairs. When the casual passers by trigger the sensor, our figures were entering the video-image facing the spectator. (2) But inside the gallery we installed the original version of the work, which was intended for the regular visitors of the cultural events, this time invited for the official finissage of the exhibition.

DA: Is the project primarily concerned with the general Macedonian cultural context, or it is dealing with more universal issues?

OPA: We could say that this work is emanated from these local issues, thus it is concerned with the Macedonian cultural context. Translated into the general context it speaks more about the art system, the expectations of the audience, the immateriality of the artwork, about the things that we always miss out, the absurdity, the nothingness…   

DA: On one occasion, you say that the inspirational thought about the project is: ‘Art is always in another place’. Does the project speak of ignorant art or ignorant audience? 

OPA: It is more about the expectations. About the expectations of where the “real” art should be, what should it look like, what is the art like in other places (always better than our), while we miss the things that are happening (or could happen) here, in front of us. One other interesting interpretation of this thought is that the art is happening during the process of creation. The artist touches it for a moment, and everything that we see as an exhibited object is only a document, a trace of the existence of the art, a way for the artist to share with the rest of the world what (s)he had experienced. 

DA: Do you think interactive art is one of the easiest ways to communicate with the audience today?

OPA: It is one of the ways, but it doesn’t have to be the only or the easiest way. Anyway the art today should be in the things that surround us, or incorporated into our everyday life. It should reach us other ways than just through the galleries. It should try to surprise us, confuse us, shake our solid image of the world and make us think and reconsider our attitudes. 

DA: How do you feel about joking with/ in art? Do you think a joke in an artwork should be considered a serious statement? 

OPA: Humor is one very helpful tool to address the social and the political issues, or the things that bother you and the things that hurt you. It doesn’t mean that if the work involves humor it doesn’t have a serious statement. Thus it is often present in our work. One other tool that we often use in our work is entertainment. Often it is the first thing that catches the audience, it “steals” their time and attention, and than through it we try to convey our message. 

DA: Absence is something one finds in many of your works. The absence of connection with reality, absence of objects, even absence of a final artwork, or project. What kind of presence do you think this absence refers to?

OPA: It is really exciting if you succeed, while acting with the art language, to make an artwork that would be communicated but not perceived as an artwork at first. In that case, the work has a direct communication with the audience, not burdened with the fact that art has “special place” in our society. It becomes a kind of subversion of the everyday life – you can experience art without knowing what’s in front of you, yet the situation you have experienced, is an artwork. What we do in our work is about creating “situations”, or often creating the artwork together with our audience. Whether this artwork is either immaterial or difficult to possess.

Featured image: Lynn Hershman Leeson Portrait (Photo Credit: Ethan Kaplan)

Woman, Art & Technology is a new series of interviews on Furtherfield. Over the next year Rachel Beth Egenhoefer will interview artists, designers, theorists, curators, and others; to explore different perspectives on the current voice of woman working in art and technology. I am honored to begin this series with an interview with Lynn Hershman Leeson, a true pioneer in the field who has recently produced !Women Art Revolution- A Secret History.

Over the last three decades, artist and filmmaker Lynn Hershman Leeson has been internationally acclaimed for her pioneering use of new technologies and her investigations of issues that are now recognized as key to the working of our society: identity in a time of consumerism, privacy in a era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds. She has been honored by numerous prestigious awards including the 2010-2011 d.velop digital art and 2009 SIGGRAPH Lifetime Achievement Awards. Hershman also recently received the 2009 John Simon Guggenheim Memorial Foundation Fellowship, an award which supported her latest documentary film !Women Art Revolution – A Secret History.

Rachel Beth Egenhoefer:  Your most recent project is the film “!Women Art Revolution” which you have been collecting materials for and working on for the past forty years.  Why is now the time to present it as a finished work? 

Lynn Hershman Leeson: TECHNOLOGY! The film is one narrative, but I’ve put the entire 12,428 minutes online through Stanford University Library, making all the narratives and aterials accessible, so in effect there are no out takes. Also the RAWWAR org archive/website allows people to continue the story online.  So the story continues to grow beyond the single narrative, which technology allows us to do now.

Additionally, I wanted to push out  into public view the graphic novel, curriculum guide, and the story to affect the legacy while women who created the movement  could be appreciated.

RBE:  Can you expand on how you see the RAWWAR story continuing online?  Or maybe what is the goal of the archive/website?  Do you envision people adding to it?  

LHL:  Yes, it was made specifically so that people, especially younger generations will be able to  add information.  At the Walker Art Center, they have scanning stations and are training people how to upload work onto the site. My hope is that people from around the world will add materials and it will be a living repository of this type of growing and accessible  information. 

RBE: The film has been touring in the U.S., what has the response been?

LHL: Incredible. It has been in over 60 cities, and standing ovations in San Francisco, Houston, Toronto, Sundance, Berlin and Mexico City. People seem deeply affected by this secret history and seem to appreciate knowing about it.

RBE: Has the response varied either with geography or current events? 

LHL: Not really, it seems vibrantly appreciated worldwide despite it being about women in America.

RBE: Can you explain the grammar behind the title “!Women Art Revolution”?

LHL: If you mean why the ! first, it was so we would be listed first, rather than under W. It didn’t work, but that was why we did it originally. It also is a wild exclamation at the start, which is what the movement was.

RBE: The film is described as presenting the relationships between the Feminist Art Movement and the anti-war and civil rights movements, showing how historical events sparked feminist actions.  Do you see any connections to be made with the current Occupy Movements?     

LHL: Yes, absolutely. In some ways because it is about how the disempowered and invisible people were able to gain their place in culture; how people who had their voices silenced  were able to amplify their message and subverted social systems, with work that expressed censorship, freedom of expression, social justice and civil rights and directly made political change. It is an inspiring story of reinvention.

The goals were clearer than with Occupy. But the disenfranchised edges of culture is similar.

RBE: A lot of your early works dealt with issues of identity. How do you think the notion of identity has changed over the years? 

LHL: It has become more technological, more global, more cyborgian. We now, because of the internet are linked globally and that has resulted in a “hive mind” and in turn, that seems to be a cohesion and holding together the individual fracturing that had occurred over the last two decades

RBE: Can you expand on the idea of the “hive mind that seems to be holding together the individual fracturing”? What makes up the hive, what is fracturing us? Is this good or bad or neither? 

LHL: The hive is social media and people who participate in the Internet grammar. There is a congealing through access to information. As individuals, I think we have been fracturing, rupturing, split for decades and have become multi faceted and multi taskers. But there’s a price in the lack of personal cohesion that results. I think that having a common reference or ‘hive’ is a very good thing, as it tests our idea of ‘reality’, and serves as a hub of communication.

RBE: Do we make our own hives? Or are those defined for us (either by others/ FaceBook/surveillance/ etc)?

LHL: We are all part of global re-patterning that is happening live on a global scale and it is naive to assume we can act independently or not be connected or affected. We are constantly challenged, influenced by peripheral and pervasive information and in turn we have become fodder for surveillance and digital integration.

RBE: Some contemporary artists and thinkers have been critical of our online selves and physical selves. Sherry Turkel for instance has described people as “performing themselves” online by constantly updating Facebook profiles, tweets, etc to show an ideal version of ourselves. Can you draw any distinctions between virtual, physical, and performative selves? 

LHL: I think we perform ourselves every day, not only on social media, but in all interactions. I do not think all images or versions of ourselves are ideal. There is absolutely a difference between real/physical and virtual selves. They each have a context, reference and function. As far as being performative, that depends upon the distinction used for how it is used. One can, in fact, consider life itself and everything one does as performance.

RBE: This interview is going to be part of a series of interviews with women working in Art & Technology. What do you consider to be important today about being a woman working in art & technology?

LHL: Ada Lovelace wrote the first computer language, Mary Shelley envisioned artificial intelligence, Hedy Lamar invented spread spectrum technology, which led to cell phones. Women have been enormously prescient in visioning and affecting the future of the world through technological linkage systems.

RBE: Do you think it is still useful to discuss the female voice as a separate voice in the field? 

LHL: I think the female voice is critical in all aspects of the future and should not be limited to a category.

RBE: One of your earlier works, LORNA, depicts a woman who never leaves her apartment and becomes more and more fearful as she watches ads and news on the TV. Some might say television media has gotten far worse since the 80s in both fear mongering and controlling conversations. What do you think about the current state of the media?

LHL: Right, the idea of media as totally affecting our outlook has shifted. Media is no longer omniscient! The 99% are activating their voices and warbling into existence. There are other problems with social media… deeper ones that splay into the cracks of fractured identities and insist on more disruption and lack of focus. But perhaps that is what is affecting our constantly changing evolution.

RBE: If LORNA were around today what would she be thinking or doing in her little 1 room apartment?

LHL: Blogging and all forms of social media including excessive and obsessive shopping, no doubt. She would probably not really be agorophobic either. She would, however, probably be paranoid. She would use a webcam and notice all the ones surrounding her no matter where she moved.

RBE: Do you have hope for change in the future?

LHL: Hope? It is inevitable. I believe in the next generation! They always, in their amnesiac optimism re invent the future in ways that can’t be predicted.

RBE: You have been involved in academia for some time, what do you think is important to be teaching in the Universities right now?

LHL: Independent thinking and creativity, the maintenance of ethics and a profound sense of humor!

RBE: Do you have any new projects you are working on?

LHL: Yes, at least 3 .A new film which is part 3 of my trilogy about the evolution of the human specis, a new installation that uses scanned beating heart cells, and a long term project about Tina Modotti.

Find our more on Lynn Hershman Leeson and Woman Art Revolution here: http://www.lynnhershman.com/http://womenartrevolution.com/

Featured image: Gambiologia presenting one of their projects made specially for the festival. Image: aloysio araripe.

Festival Cultura Digital took place in Rio de Janeiro between the 2nd and the 4th of December 2011. It was the third edition of the event known as Forum da Cultura Digital that happened in Sao Paulo in the first two years. It gathered 6 thousand people in about 20 open discussions, 20 workshops and 52 international and national projects presented in MAM Rio de Janeiro (the Museum of Modern Art) and Cine Odeon.

The Festival Cultura Digital is a project from Casa de Cultura Digital, “a criative cluster from São Paulo” composed by 15 institutions. For this project, Casa de Cultura Digital received an honourable mention in the Digital Communities category by Ars Electronica 2010.

One of the particularities of this event is that it brings together political institutions, artists, companies, activists and intellectuals in a hybrid format. The main goal is to change and broaden the limits of digital practices and connect to other people and networks from other cities, states and countries.

This edition of the festival had as key speakers Yochai Benkler (Harvard Professor and co-director of Berkman Center for Internet and Society), Kenneth Goldsmith (poetry professor of Pennsylvania University and founder of Ubuweb), Hugues Sweeney (producer of Interactive movies of National Film Board of Canada), Michel Bauwens (founder of P2P Alternatives), Philippe Aigrain (Sopinspace, CEO), Paulo Coelho (the famous Brazilian writer that made all his books available for download) and Heloisa Buarque de Hollanda (researcher on the relations of “marginal culture” and digital culture).

For the first time projects were chosen through an international open call and selected by a group of people involved with the festival. They’ve received almost 400 projects and selected about 80 that were organised in different themes: Construção de laboratórios de cultura digital (constructing digital culture labs), Encontros de rede (network meetings), Mostra de experiências (experience show) and Visualidades (visuals, that gather artistic projects to be shown and discussed).

Casa de Cultura, as defined by them, connects the counterculture from the 60s-70s to the cyberculture from the 21st century. The group itself has members as Claudio Prado, a key figure from the Tropicalia movement. He’s a cultural producer, co-founder of Glastonbury Festival and has produced many concerts of Mutantes and Novos Baianos. He currently coordinates the Laboratório Brasileiro de Cultura Digital. Gilberto Gil, the musician and ex minister of culture of Brazil is the “ambassador of Festival Cultura Digital”. Besides that, many members of Casa de Cultura are journalists, videomakers and programmers in their 30s or under that are directly involved with hackerspaces, independent journalism and public policies for digital culture.

It brings together as partners members of the international mass media as The Wall Street Journal and Reuters, Folha de Sao Paulo (one of the main newspapers in Brazil) as well as the blog Falha de Sao Paulo, that was sued by Folha de Sao Paulo for being critical about its content. Casa de Cultura Digital also represents the Brazilian node of Wikileaks.

Besides international selected projects like Waste2No, Pretty Resistant, Protei / Oil Compass, Bitcoin, Generadores de electricidad con basura electrónica, or The Cartographer; and nacional groups like Cotidiano Sensitivo, Garoa Hacker Clube, Gambiologia, Pandeiro Montagem, or Espaço Macambira, there were projects such as:

Ônibus Hacker

Onibus Hacker was a idea to buy a bus through donation to be modified to include webcam, 3G connection and GPS for Transparencia Hacker [1] projects. The projects are done during the trips to small cities among the group that travels in the bus and also virtually. Some of the projects include workshops, Hackdays and Install Fest to small towns (less than 5,000 inhabitants), also allowing local people to organize themselves (according to Brazilian legislature, anyone can propose a law if it’s signed by 5% of the local electors) that would benefit these contexts. The bus was bought and went to Rio de Janeiro to be shown and visited during the festival.

Brasuíno-Holoscópio

Brasuíno BS1 is a single board microcontroller inspired on Arduino that uses the AVR microcontroller. This Brazillian version was redesigned using Libre Software, free to reuse and derive, and it’s licensed as GPLv2+ (the original Arduino still uses a microchip that is not open hardware). It’s also compatible with Arduino Uno and Arduino software.

Teko Arandu

The project is composed by an IT lab based in the Kaiowá community Nhandejara that integrates the indigenous community to straighter demands and opens the discussion about their issues and projects outside the reserve through a web portal. Furthermore it offers workshops for inhabitants and people involved with the group and it’s a source of information for researchers. The project includes organization, digitalization, production and analysis of historical and cultural elements from the Kaiowá and Guarani tribes. The website is bilingual (Guarani-Portuguese).

Cultivo cc

Cultivo is the first crowdfunding network for Cultural Incentive Laws in Brazil. The main goal is to connect companies and projects approved so that they can contribute to their development. The project was launched during the festival. One of the ideas is to enhance the participation of the private sector in cultural projects. If a project is selected, the companies can use part of the tax money to support it. Nevertheless, many companies don’t know the projects or how to proceed, so Cultivo would be a portal to present the projects to the private community.

Laloca

LALOCA is the Laboratory for Locative Media and GPS Films. It’s a centre for the production and research of mobile media at the Federal University of Juiz de Fora in collaboration with the University of California San Diego. The projects focus on locative cinema with interactive scripts based on open source OS and tools, as HiperGps, HiperGeo and walkingtools, whose project The Transborder Immigrant Tool [2] has caused great media frenzy and issues with the government for Ricardo Dominguez, professor, activist and one of the developers of the tool.

Mapa Sonoro do Estado do Rio de Janeiro

It’s a platform for mapping soundscapes in Rio de Janeiro and Niterói (greater Rio de Janeiro) based on the Universidade Federal Fluminense. It’s built in a collaborative way to collect a “Museum of sounds” of neighbourhoods and favelas.

Fora do Eixo

Circuito Fora do Eixo is a network of cultural producers and artists from parts of Brazil outside Rio and Sao Paulo. These two cities are known as the cultural and economical “axis” concentrating the funds, spaces and media interest of the country – thus the name Circuito Fora do Eixo which literally means “circuit outside the axis”. The group began in 2005 as a way to stimulate bands to play and tour across Brazil. With the aid of certain technological developments that allowed direct distribution and the lowering of production costs they have created many small festivals (about 180 until today) and gained great relevance in terms of connection with the government and artists. Now Fora do Eixo has two permanent spaces called Casas Fora do Eixo, it has gained a national presence and has broadened its activities to include an interest in free digital cultural policies for education, audiovisual production, etc. [3]

The Festival Cultura Digital is an exciting example of how collectives and individuals create a public and open space for sharing information, not depending but also not ignoring the public and private role in the national scenario. This process is particularly interesting for a country that is learning how to use networked technologies to overcome its gigantic size and its many cultural and socio-economic differences. It’s not an easy task, but it’s a lesson which is worth learning in times where the boundaries between public and private are blurred, when governments are ruled by investors and individuals change drastically the laws of the market as we know it.

Links:

Congresso Fora do Eixo – http://congresso.foradoeixo.org.br
Festival Cultura Digital – http://culturadigital.org.br
Casa de Cultura Digital – http://www.casadaculturadigital.com.br

According to the organization, there’ll be videos from the presentation available on the website by the beginning of 2012.

Taina Bucher interviews curator Gaia Tedone about her latest online curatorial project called ‘Is Seeing Believing?’ as part of the TRUTH programme at or-bits.com, an online platform for the display of contemporary arts and production of new works. Born in Italy, in 1982 Gaia Tedone holds an MFA in Curating from Goldsmiths, and has for the past year been one of the curatorial fellows at the Whitney Independent Study Program, New York. She has been involved in a number of art projects and worked with institutions such as Whitechapel Gallery, James Taylor Gallery, The David Roberts Art Foundation and Tate Modern.

Taina Bucher: Tell me a bit about your background for doing curatorial work. How did it get started and what are some of the thematic interests that have been important to your work?

Gaia Tedone: I started doing curatorial projects in London, where I was living and working for the past five years. The time spent at Goldsmiths was extremely formative from a practical and intellectual point of view. I was involved in a number of projects – some of them in collaboration with institutions in London, such as the series of talks Curating Fictions organised at Whitechapel Gallery, others were developed within the academic context, as for instance IM magazine and the publication A Fine Red Line (A Curatorial Miscellany) which I edited with fellow curators Isobel Harbison, Ilaria Gianni, Nazli Gürlek, Rosa Lleo and Yannis Arvanitis. The latter experience led us to establish the curatorial collective IM projects – a platform for editorial projects for which I contributed for the following two years.  

The MFA in Curating at Goldsmiths and the Whitney Independent Study Program have both helped me to locate my interest in the history of art production within today’s global context and to look at the ways in which specific economic and political contexts shape the production and circulation of art. These two complementary programmes of study informed my research interests, which are located at the intersection between the fields of new media and cultural studies.

This year, within the context of the Whitney Program, I was exposed to a number of seminal authors and texts that since the 70s have contributed to the development of the field of cultural studies, and I was deeply inspired by the recent work of David Harvey and the political philosopher Chantal Mouffe.  This intense year of research has informed the conception and realization of the exhibition Foreclosed. Between Crisis and Possibility that I co-curated with ISP fellows Jennifer Burris, Sofía Olascoaga, and Sadia Shirazi at The Kitchen in New York.

The exhibition, which included works by Kamal Aljafari, Yto Barrada, Tania Bruguera, Claude Closky, Harun Farocki, Allan Sekula and David Shrigley, took the current housing crisis in the U.S. as the departing point to explore other meanings of the word foreclosure, which also evokes processes of exclusion and a shutting down of recognition.

Taina Bucher: How did you get into doing online curatorial work?

Gaia Tedone: I was invited few months ago by Marialaura Ghidini to collaborate with her and Christine Takengny on the autumn issue of or-bits.com. Marialaura had some preliminary thoughts on how she wanted to develop the programme, and after few Skype meetings we established a common ground upon which we built three parallels projects. The programme curated by Marialaura was launched in early October with works by Angus Braithwaite/David Raymond Conroy/Adelita Husni-Bey/Iocose/ M+M (Marc Weis and Martin De Mattia)/Richard Sides and my response followed shortly after that. Is Seeing Believing? is my first curatorial work online.

Taina Bucher: How do you feel about exhibiting art online, what are the challenges and benefits? In what ways does the conceptual work with developing a project online differ from curating exhibitions in a more offline institutionalized setting?

Gaia Tedone: or-bits.com provided me with technical support in terms of coding and web-design, while I was left totally free to develop my own curatorial strategy. My original idea was to build up a True or False web-based questionnaire, mainly text-based. However, the project developed in a slightly different direction and I was happy to adapt its format to the eclectic contributions I was receiving. Once I gathered all the content, I chose to mimic the format of an online newspaper, as this seemed the best visual strategy to actually play with the ideas being put forth while maintaining an inner coherence for each artist’s contribution.

I found the context of the web extremely challenging from a curatorial perspective, as it required the ability to work simultaneously on different elements, from the editing of content to the formalization of a coherent visual output, employing an approach both flexible and rigorous. It felt like a condensed version of a ‘traditional’ show, yet faster in pace and with a different degree of curatorial control. It came together fairly organically. The Web I think poses a number of important questions, especially in relation to the short attention span we generally dedicate to what we read or look at when surfing the net. Would the type of art being produced have to play or interject whit this? How would it change the public’s experience or engagement? These are all open questions for me.

Taina Bucher: What is the idea behind your current exhibition on or-bits?

Gaia Tedone: The theme TRUTH developed out of several conversations inspired from Žižek’s text Good Manners in the age of Wikileaks and a shared interest in somehow questioning the democratic claim of the web as a space of freedom, in light of the recent developments of Wikileaks and of the role that social media played during the Arab Spring. In a world in which everyone can be the author of his/her own news, how do we assess what is true or false? And how is this shifting power’s relationships and individual agency?

Within this larger framework, the project Is Seeing Believing? specifically focuses on the relationship between image and belief and develops from the engagement with two particular images: first, the image of Caravaggio’s iconic painting The Incredulity of Saint Thomas (1601-1603), depicting Apostle Saint Thomas’ unwillingness to believe without direct, physical and personal evidence in Jesus Christ’s Resurrection. Second, the image published in the news showing President Obama, Hilary Clinton, Joe Biden, along with members of the national security team, watching Bin Laden’s death live.

The latter image, which quickly became one of the most publicly viewed in occasion of Bin Laden’s death, claims to present a less crude version of the story, but in fact it does not. On the contrary, it carries the absence of the image we are actually looking for – the one of Osama Bin Laden’s death body – affecting the viewer on multiple levels. On the one hand, by making the relationship between political power and media control even more visible; on the other, by acknowledging the necessity to see an image in order to believe in a fact. Then again, to what extent does it really matter if what we are looking at is the actual event or other people witnessing it? Has seeing become believing? These are some of the questions and preoccupations that have animated the conception and realization of this online project.

Taina Bucher: ‘Is Seeing Believing?’ is an exhibition displayed in the format of a newspaper. Who are the contributing artists?

Gaia Tedone: I began by approaching a number of artists, designers and activists whose work I admire and who, in my opinion, share a highly critical approach towards the production and reception of images and often employ a strategic use of the media in their practices. Some of the contributors, like for instance Jon Rafman, Nate Harrison, Alterazioni Video, The International Errorist and Foundand, have used the web extensively as the source and context of their works, others as for instance Azin Feizabadi and Oliver Ressler & Martin Krenn brought to the project their experiences of artists working within specific public spaces. A couple of interventions, such as the ones of MDR, Sadia Shirazi and Alessandro Sambini were specially conceptualised and produced for or-bits.com.

The idea of assembling them within the format of an online newspaper came at a later point, once all the material was gathered. It also pays homage to The New York Times Special Edition produced by The Yes Men and Steve Lambert and distributed for free in the streets of New York City in 2008. The paper announced the end of the Iraq’s war and changes in the US government’s policies on global warming, embracing for one day the philosophy of ‘All the News We Hope to Print’, at the beginning of President Obama’s administration.

The choice to play out specifically with Al Jazeera’s website was driven by the visual intelligibility of its design and by the desire to locate the project’s investigation within the context of this year political events and the role that social media played within the Arab Spring. As Sadia Shirazi interestingly points out in her contribution about Wikileaks as a socially engaged practice, if information is the terrain of war, what better context than a newspaper to put forth such urgent questions?

Taina Bucher: It is interesting that you say your or-bits contribution seeks to challenge the debate on image and truth by embracing the visual volatility of the web. Yet your newspaper is surprisingly static to be a webpage. Was this a conscious choice?

Gaia Tedone: This is a pointed observation. The webpage attempts to create a visual cohesiveness to the project, but it also asks the viewer to be actively engaged with the navigation.

I would see it as an attempt to fix in time the volatility of the web, maintaining in its content the associative and eclectic character of a browsing session, yet proposing a specific vantage point. In a sense it is like an exhibition, in which the works are in dialogue with each other, but have their own space and are framed by the specificity of the context.

Taina Bucher: Your project seems to suggest that we have no choice but to believe the image. Why is that? Haven’t we by now learned to be critical of the image, of its truthfulness and representability? Just think of Judith Butler’s book Frames of War where she addresses the dramaturgy of the Abu Ghraib photos. Susan Sontag already argued in 1977 that visual representation had become a cliché, that we are constantly bombarded with sensationalist images that numb our sense of believing. In what ways do you think, then, that the explosion of images online has somehow led to a diminished capacity to be critical?

Gaia Tedone: What interests me is the relationship between the access to images and the mechanisms of power that regulate this access and how this relationship is becoming more sophisticated and problematic within the context of the web and the role that social media play in the diffusion of images and information.

I think that a critical approach towards the reception of images is a condition that needs to shift and constantly adapt itself to the development of the image’s status itself. It cannot be separated from the historical and technological context in which images are produced and cannot be considered resolved as such, as the social and political configuration of the world is shifting also through the news and the images accompanying them.

Through the question Is Seeing Believing? I wanted to direct attention to the individual agency and the possibility for artists to filter, edit and rearrange the information and images they are exposed to, in this way challenging the notion of truth. To quote Siegfried Kracauer, who is also mentioned in the project, and his famous collection of essays ‘The Mass Ornament’ published in 1963: Never before has an age been so informed about itself, if being informed means having an image of objects that resembles them in a photographic sense. Never before has a period known so little about itself. In the hands of the ruling society, the invention of illustrated magazines is one of the most powerful means of organizing a strike against understanding.

These words still resonate powerfully with me, as they crucially point out to the ambiguous relationship between photography and information. Although there is a risk involved in believing in the image – risk that we must be aware of ­– what happens when the access to the image is negated to us? When this process of identification, compassion and repulsion that images often instigate is no longer accessible? Do we stop believing in reality or do we start to understand it?

President Obama’s decision not to diffuse the image of Osama Bin Laden’s body marks, in my opinion, a very important moment in the history of the images of the last decade.
It counterbalances with its absence 9/11, one of the most photographically reproduced events of this century – the day in which history and fiction met in the brutal instant of a photographic frame. I see this absent image as an occasion to stop, look back and critically reflect on what happened

White Heat Cold Logic
British Computer Art 1960-1980
Edited by Pal Brown, Charlie Gere, Nicholas Lambert and Catherine Mason
ISBN 9780262026536
MIT Press 2008 

This is the third and last in a series of reviews of the results of the CACHe project. The first review was of the V&A’s show and book “Digital Pioneers“, the second was of Catherine Mason’s “A Computer In The Art Room”. Where “A Computer In The Art Room” concentrated on the history of art computing in British educational institutions up to 1980, “White Heat Cold Logic” gives voice to the individuals who made art using computers in that period more generally.

Charlie Gere’s introduction explains the source of the book’s title, referring to the British Prime Minister Harold Wilson’s famous 1963 speech that a new Britain would be forged in the white heat of the scientific and technological revolution. Gere provides an overview of the history of art computing in the era that may be familiar from “A Computer In The Art Room” which is much needed, for it provides useful context for what follows in this volume. He also argues for the value and interest of the history of art computing, in terms that make it clear for academia.

Roy Ascott describes the emergence of pre-computational art informed by cybernetics, systems theory and process against the background of the emergence of “Grounds Course” art education. Adrian Glew documents Stephen Willats’ use of computing in the processes of his art of cybernetic social engagement, the first but not the last more mainstream British artist to appear. John Hamilton Frazer describes the unrealised interactive architecture of the 1960s “Fun Palace” and 1980s “Generator” and of the technology and social legacies of these nonetheless influential projects.

Maria Fernandez puts the figure of Gordon Pask centre stage. As John Lansdown (to whom this book is dedicated) emerged as a major figure behind educational arts computing in “A Computer In The Art Room”. Gordon Pask also emerges in this volume as the cybernetic prophet of the 1960s, mentioned by many in the early essays in this book. His own interactive theatre and robotic mobiles complement his involvement in planning the Fun Palace and as a source of ideas and support for more projects.

Jasia Reichardt provides a theoretical and practical insight into the genesis of her foundational “Cybernetic Serendipity” show at the ICA in 1968 and considers what came next. Brent Macgregor provides an outside view of the same. Neither attempts to mythologize this much mythologized show, the reality of its achievements is more than impressive enough.

Edward Ihnatowicz is the subject of two essays, one with tantalising images of preparatory and documentary material by Aleksandar Zivanovic and an insightful but more personal essay by Richard Ihnatowicz. Hopefully his reputation will continue to increase towards the level it deserves.

Richard Wright follows the ideas of Constructivist art into Systems Theory, which alongside cybernetics is one of the guiding ideas of the art of the period overdue for rediscovery both within art computing and more generally.

Harold Cohen remembers the origins of his “AARON” painting program in a tale of the struggle of art against bureaucracy. Tony Logson’s tale is surprisingly similar, although his systems-based art is very different from Cohen’s cognitively-inspired forms. Simon Ford reveals Gustav Metzger’s involvement with early computer art and with the Computer Arts Society (CAS). CAS also feature large in Alan Sutcliffe’s description of his computer music compositions, one of many essays that left me wishing I could see the code and experience the art as well as reading about it.

George Mallen also touches on CAS, and on Pask’s System Research Ltd. as he explains the art and business of the production of the unprecedented environmentalist interactive multimedia of the “Ecogame”. The Ecogame is one of many works in the book that people simply need to know about. Doron D. Swade makes the idea of the “two cultures” of art and technology that came together for the Ecogame more explicit in an attempt to recover the art of the Science Museum’s first computing exhibit.

Malcolm le Grice and Stan Heyward each describe the institutional travails of making some of the first computer animation in the UK. Catherine Mason draws together the history of many of the institutions already mentioned in what is both a recap and an extension of the history she presented in “A Computer In the Art Room”. Stephen Bury and Paul Brown bring the influence of the Slade to the fore in their chapters, revealing the Slade as an important piece in the puzzle of British Computer Art.

Stephen Scrivener, Stephen Bell, Ernest Edmonds and Jeremy Gardiner each describe their personal artistic journeys through the era of FORTRAN and flatbed plotting, illustrated by images of their work that again made me wish I could also see the code. Graham Howard describes how conceptual artists Art & Language didn’t use a university computer to generate the 64,000 permutations of one of their “Index” projects of the 1970s, instead gaining access to a local produce distribution company’s mainframe across several weekends.

The different strands of technology, institutions, ideas and economics are all drawn together in John Vince’s history of the PICASO graphics library, which spread from Middlesex Polytechnic to many other educational institutions and the successor to which, PRISM, was used to make the first logo for Channel 4.

Brian Reffin Smith makes clear, artists were as affected by the idea of computing as by computers themselves, especially when they didn’t have access to them. The Fun Palace was influential despite never being realized, Senster was influential despite being lost. It is important to realize just how limited access to computing machinery was in the era covered by the book, and to recognize how ideas of computing and its potential were part of the broader intellectual environment of the time.

Finally, Beryl Graham’s postscript covers the history of UK arts computing after 1980. I lived through some of the period covered and I recognise Graham’s description of it. The critical irony that she identifies in UK net.art and interactive multimedia is of key importance to its art historical value. Although I would question how uniquely British this is, the UK certainly took it as a baseline. As with Gere’s introduction, Graham presents the case for art computing in a way that the art critical mainstream should not just be able to understand but should be inspired by. Cybernetics, systems theory, environmentalism, socialisation, the content of conceptual art, and the political concerns and developments of the Cold War all illuminate and are in turn illuminated by this history.

For a book about art computing it is frustrating how little art and source code is illustrated in the book. Much work has been lost of course, and “Digital Pioneers” does illustrate art from this period. But for preservation, criticism and artistic progress (and I do mean progress) it is vital that as much code as possible is found and published under a Free Software licence (the GPL). Students of art computing can learn a lot from the history of their medium despite the rate at which the hardware and software used to create it may change, and code is an important part of that.

White Heat, Cold Logic presents hard-won knowledge to be learnt from and built on, achievements to be recognised, and art to be appreciated. Often from the people who actually made it. What was previously the secret history or parallel universe of art computing can now be seen in context alongside the other avant-garde art movements of the mid-late 20th century. I cannot over-emphasise the service that CACHe has done the art computing community and the arts more generally by providing this much needed reappraisal of early arts computing in the UK. 

The text of this review is licenced under the Creative Commons BY-SA 3.0 Licence.

Since the turn of the millennium, there have been shifts toward new forms of sociopolitical dissent. These include strategies 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. Although my focus is more concerned with the Occupy Movement, what is evident is what I call an amorphous politics of dissent. Amorphous is defined as “without shape”, and can be applied to most of the mise en scenes listed above.

The dissonance of power in regards to conventional politics can be seen in its structure. For example, the nation-state has a tiered, hierarchical structure of power relations. There is a President or Prime Minister, a legislative organ of MPs or Representatives, Parliaments, Houses, and the like, a Judicial organ, and a Military organ that includes any number of militia and police. Although I am referring mostly Western forms of government, we can also argue for the hierarchical form in terms of the Corporation, with its CEO, Board, Shareholders, Managers, and Workers. This can be expanded historically to Feudal lords with their retinue of Vassals, Nobles and Warlords with their coteries of Warriors and support personnel. The point is that conventional power typically operates in a pyramidal command and control hierarchy with a centralized Leader at the “capstone”. One can argue that the pyramid may have different shapes, or angles of distribution of power, but in the end, there is usually a terminal figure of authority. To put it in terms of stereotypical Science Fiction terminology, when the alien comes to Earth, the standard story is that it pops out of the spacecraft and says, “Take me to your leader.” This signifies the hegemonic paradigm of Leadership as the central gestalt of First world power. Leadership, then, is the conventional paradigm of power in Western culture, and dominates the industrialized world.

Territorialization refers to the exertion of power along perimeters, or borders. Functionaries expressing the constriction of territory include customs agents, and border patrols; but are terminally expressed by the military wing of the nation state. This military is also generally pyramidally constructed in terms of Generals, Colonels, and other officers leading Battalions, Regiments and Divisions, which are organized as defenders of a nation’s sovereignty. These military organs are conversely best optimized to exert their power against either parallel or subordinate structures. Parallel structures include the armies of other nations, their Officers, et al, and their troops and ordnance that possess a similar organization. Conversely, subordinate structures over which military powers can exert power over are domestic masses that can be overrun with overwhelming power, although these forces are more specialized (such as National Guards or Gendarmeries). In the conventional sense, power is expressed orthogonally, whether it is against equal or subordinate forces.

Another aspect of this conversation relates to the expression of power/force through conflict and violence, but has its inconsistencies The examples I will use from American pop culture I will use in this missive to explain amorphous action may be violent in nature, but the violent nature of these examples do not relate to the paradigmatic jamming of conventional power. Their citation is related more to the fact of conventional power’s orthogony, or parallelism of exertion of power to similar structures or dominance of the subordinate, and the panic state it experiences when confronted with non-conventional difference or passive resistance. We could express the power relationships between amorphous politics and conventional power in terms of a tetrad in terms of examples of violent and peaceful exertion of amorphous dissent as well as orthogonal conflict. We could cite the Occupy movement as a site of passive, and the Tunisian uprising as violent exemplars of amorphous conflict or dissent. Conversely, the Gandhi/King is a non-violent model of as orthogonal/hierarchical/led action, and World War Two as conventional orthogonal conflict. What is important here is the inability of the conventional politics and power to cope with leaderless, non-hierarchical, non-orthogonal discourse that refuses to talk in like terms such as centralization, leadership and conventional negotiations that include concepts such as “demands”. This is where the site of cognitive dissonance erupts, often resulting in a panic state or in the “figureheading” of dispersed networks of power.

The need for the traditional power structure to focus identity on the antagonist in terms of figureheads is evident in the Middle East and Eurasia in the personification of terrorist and insurgent networks, but is more simply illustrated in the films Alien and Aliens, and Star Trek: The Next Generation. Both of these feature their respective antagonists, the “alien” as archetypal Other, and the Borg, symbol of autonomous, collective community. In Alien, the crew of the Nostromo encounters an alien derelict ship that has been mysteriously disabled to find a hive of eggs of alien creatures whose sole role is the creation of egg factories for further reproduction. At the onset of the franchise, pilot Ellen Ripley is positioned as the “everywoman” placed in the center of cataclysmic events. In the Alan Dean Foster book adaptation, and an extended edit of the Scott film, Ripley finds during her escape from the ship that Captain Dallas has been captured and organically transformed into a half-human egg-layer whom she immolates with a flamethrower. However, in the Aliens sequel, the amorphous society of the self-replicating aliens has been replaced by a centralized hive, dominated by a gigantic Queen that threatens to impregnate the daughter-surrogate Newt. This transformation from a faceless to centralized threat creates a figurehead for the threat and establishes a clear protagonist/antagonist relationship, and establishes traditional orthogony.

This simplification of dialectic of asymmetrical politics is also evidenced in Star Trek: The Next Generation by the coming of the Borg, a collective race of cybernetic individuals. Although representations of the Borg vary as to fictional timeline, in televised media they began as a faceless hive-mind, which abducted Captain Jean-Luc Picard as a mouthpiece, not as a leader. It was inferred that if one sliced off or destroyed a percentage of a Borg ship, you did not disable it; you merely had the percentage left coming at you just as fast. However, by the movie First Contact, the Borg now possesses a hierarchical command structure to their network and, more importantly, a queen. With the assimilated and reclaimed android Lieutenant Data, the crew of the Enterprise infiltrates higher level functions of the Borg Collective, effectively shutting down the subordinate elements of the Hive. In addition, the Queen/Leader is defeated, assuring traditional figurehead/hierarchy power relations rather than having to deal with the problems of the amorphous, autonomous mass. There are other “amorphous” metaphors in cinema that address the issue of amorphousness. These include the 1958 movie, The Blob, in which a giant amoeba attacks a small town and grows as it engulfs everything. Another is The Thing, about a parasitic alien that doppelgangs its victims, creating another form of faceless threat. Lastly, we have the classic Invasion of the Body Snatchers where alien plant “pods” would bear fruit of duplicates of living people, giving a metaphor for the Communist threat of the Red Scare originating during the Cold War. Perhaps these are historical references to mediated expressions of anxiety in regard to autonomy’s threats to regimented/striated hegemony, stating that this sort of anxiety and terror are not new.

One of the most asymmetric cultural Western interventions in relation to constructs of traditional power is the involvement of Anonymous as part of the Occupy Movement. Anonymous, which has been called a “hacker group” in the mass media, is a taxonomy created on the online image sharing community 4chan.org, arising from the practice of posting “anonymously” unless one wants to use a name, or handle. Although the idea of Anonymous is at best an ad hoc grouping, the use of the “group” name has been ascribed to various factions. According to The State News, “Anonymous has no leader or controlling party and relies on the collective power of its individual participants acting in such a way that the net effect benefits the group.“ The idea of Anonymous fits with the “faceless collectives” mentioned above, and certainly presents an asymmetric, if not non-orthogonal, exercise of power. Anonymous first rose as a voice of dissent that emerged against the Church of Scientology (see Project Chanology), where flash mobs of individuals in Guy Fawkes masks and suits arrived to protest at sites around the world, with boom boxes playing “The Fresh Prince of BelAir”, a popular agitational or “trolling” anthem. It has engaged in other activities, including hacking credit card infrastructures opposed to handling donations to Wikileaks and creating media around Occupy Wall Street. However, without a clear infrastructure and only transient figureheads, Anonymous functions as an organizing frame for a cloud of individuals interested in various collective actions, and represents an indefinite politics based on networked culture. In an expected exercise of force, during the actions against elements opposed to Wikileaks, conventional power struck back wherever it could against members of Anonymous, by arresting over 21, some violently, in July during the actions against credit providers boycotting Wikileaks. This exercise of power was repeated in September, with admonitions about the arrests appearing on YouTube thereafter. Anonymous has also posted videos in support of the Occupy movement. Such a response is not surprising, but is the exact response to non-orthogonal dissent under our model. The problem is that in arresting any number of Anonymous members, traditional power is confronted with the first, distributed model of the Borg that merely exists minus two or twenty members.

Another dissonance between the Occupy Movement and conventional politics is the perceived lack of agenda. This is due to its dispersion of discourse in giving its constituents collective importance in voice. What is the agenda of the disempowered 99% of Americans, or world citizens marginalized by global concentration of wealth? Simply put, the agenda is for the disempowered to be heard. What does that mean? It means anything from forgiveness of student loans to jobs to redistribution of wealth to affordable health care, and so on. It isn’t a list; it is a call to systemic change of the means of production, distribution of wealth and empowerment in political discourse. It isn’t as simple as “We want a 5% cut in taxes for those making under $30,000.” It’s more akin to “We’re tired that there are so many sick, hungry, poor and uneducated, and we want it to end. Let’s figure it out.” It is the invitation to the beginning of a conversation that has no simple answers other than the very alteration of a paradigm of disparity that has arisen over the past 40 years through American capitalism.

The last challenge to the traditional power discourse is that of passive resistance. This is not a new strategy, especially under the aegis of Gandhi and King’s movements. However, it is traditional power’s mere tolerance of nonviolent resistance that does not result in violence. As we can see from the UC Davis assaults and the dispersions after the second month anniversary, conventional power exerts its force against, as Brian Holmes put it, “anomalies” so that the system can be restored and the commodifiable classes are reintegrated into the system to reproduce its agendas. As long as resistance does not present undue inconvenience for the circulation of power and capital, it is allowed. Once it loses its patience with non-orthogonal forces, or if materially sacralized spaces, like Wall Street are threatened, the hegemonic order is reified. The irony of the technical loophole of Zucotti Park being privately owned and having few rules allowed the Occupy movement also highlights the tenuousness of public discourse in Millennial America. However, even with this oddity, on the two-month anniversary of Occupy Wall Street, force has begun to be used against the occupiers as traditional power’s patience grows thin with amorphous politics. In the streets, the marches are split up, and rules about occupation begin to be enforced with cupidity. As said before, hegemonic patience has worn thin, with assaults/dispersions taking place in Oakland, Davis, Philadelphia, and New York, among others. However, the movement moves forward for the moment.

Amorphous politics is based on plurality, collectivism, dispersion and ideas. The hierarchical nation-state has no idea what to do with the amorphous blob as it grows except to try to contain it, but as with Anonymous, it is a whack-a-mole game. If one smacks down one protest, two pop up across town, or five websites pop up on the Net. Shut down Wikileaks, and a thousand mirror sites show up. People in the streets swarm New York and other cities throughout the US, and the world, and conflict arises. Asymmetry and amorphousness are dissonances to traditional power. Ideas in themselves are not hierarchical.

Desires sometimes have no agendas.
Sometimes people want what is right, and all of it.

Dragana Zarevska and Jasna Dimitrovska are visual and performing artists, cultural workers and activists from Macedonia, who also, often work together under the artistic pseudonym Ephemerki. While at the same time loving and teasing the rigidity of academism, they like decoding magic, making it transparent, go behind Wizard of Oz’s curtain and put his pants down. The name of the duo is a funny derivate of Bapchorki (band of few grannies who used to sing Macedonian traditional songs in a rustic nasal style). It suggests that Ephemerki are their ephemeral version, or at least, the ones doing the ephemeral part of tradition. Their work is driven from and inspired by Donna Haraway, Judith Butler, Deleuze and Guattari, Agamben, and other contemporary thinkers and practitioners within arts, technology, society. 

The Lele method is their latest performance (a performative event for a bunch of people, as they like to call it) and so far was performed at AKTO 6, Festival for Contemporary art in Bitola and Kondenz & Locomotion, Performing arts festivals organized in Skopje and Belgrade. Here is the story behind the project.

Darko Aleksovski: ‘Lele’ (Мac: леле) is a word that has profound significance in the Macedonian language. It is a universal word that can be used in different contexts and can imply several different emotional states. Can you describe what was the inspiration for this project dedicated to the word ‘lele’? What is the subjective meaning of this word for you?

Dragana Zarevska/ Jasna Dimitrovska: The particular situations this word implies and the problems it addresses might sound quite confusing for the non-Macedonian readers, but, if any of them have visited, or will visit our country, it’ll be deadly surprising how many “leles” per minute one hears around. The word “lele” is totally devoid of meaning, but it is being used to emphasize certain emotions, wondering, shock, great happiness and similar. It is just a shout out, like…the French “oh-la-la” for instance, the Bulgarian “ma-leeeh” or like the Serbian “yoooooy”. The project is being titled “The Lele Method”, directly and totally driven from the local obsession with lele and its possible application.

For us, this word sometimes depicts the shortly shaken numbness and the apathy of our current socio-political constellations, but only with a shout, and then again – everything goes on as usual.

Darko Aleksovski: What is the ‘lele method’? Considering the performative act of the ‘lele’ word, and its everyday use in Macedonian speech, do you think that a method like this can still function as relevant? Can the ‘lele method’ be appropriated by anyone, or it is just a method that you as an artist use?

Dragana Zarevska/ Jasna Dimitrovska: Sure. It can be appropriated by anyone, but it is still a joke. You will certainly do without it as a method. Using it will not bring anything to your life what you’ve not had before. This is how we define it: Lele is one of the most frequently used words in Macedonia… people usually use it when they do not understand how and why something occurred, and immediately after it is being said out loud, Lele helps people criticize any phenomenon, constructively, and with a high dose of expertise. Try it. If you do not succeed, your libidoless academism automatically returns to you within minutes.

These instructions can help a lot in experiencing this useless experience through this useless method. But, stating the obvious with The Lele Method is what we enjoy the most. We give people what they already have, like selling snow to Eskimos.

Recently, in an interview we gave for the Canadian .dpi Magazine we discussed some particular effects we achieved by performing Lele. Nobody is aware of performing it daily here in Macedonia, and while we were preparing the performance out of it/about it, we realized the power of defamiliarization. You perform something which is being performed daily in a constant automatization. By naming a method Lele and putting it on a stamp, we gave the word a particular relevance and a different form. We made it “unfamiliar” and “difficult”, and by that, we prolonged the process of perception of that word. By trying to remove the automatism of perception, we got a new perspective of a word, of a problem. This technique has been used in the literary criticism of Russian formalism to differentiate prose from poetry, but we use it to differentiate and to delay perception. As Russian formalist critic Viktor Borisovich Shklovski has said in his well-known essay “Art as Device,” – the purpose of art is to impart the sensation of things as they are perceived and not as they are known.

Darko Aleksovski: You have presented this project two times so far – as a performance accompanied by the printed version of the scheme of the ‘lele method’. How much performance is a necessary medium for this project?

Dragana Zarevska/ Jasna Dimitrovska: We’ve shown the performance at this year’s Akto Festival for Contemporary Art during August (Bitola/Macedonia), and at the Kondenz & Locomotion curatorially joint festivals for performing arts organized in Skopje and Belgrade during October. We must admit we entertain ourselves a lot during the performance because people enter the room and they perceive it as some irrelevant and boring employees who put a stamp on everyone’s hand at the venue’s door. Then, they look at the stamped hand/arm and shout “Leeeeeh-leeeeeh!” because that’s being engraved on our stamps.

During the performance we are dressed in our Lele uniforms which are extremely office-like and conservative, our faces are shit-serious, and inside the room there are printed materials (scattered leaflets on the tables, or printed panels on the wall) with diagrams on them explaining the empirical part of the Lele Method. The concept behind the Lele Method is being driven by our love and respect towards Giorgio Agamben’s work and his ideas on experience shown in his work Infancy and History. The experience is ending where language begins. Kids have the real experience until they start articulating and verbalizing things up. Giorgio Agamben says that we, modern humans can no longer access experience. The Lele Method is an attempt to get an experience instantly and effectively. The existence of this scientific method is only symbolic, because it is just mocking the academia and the naive ones simultaneously, as – all of the work we did/do by far. 

Much of this performance auto-perpetuated, it is happening by itself. Performance is always a necessity. It is better for us to be aware of it, because we all perform all the time. This performance is all about being aware that we perform something of which we usually forget, but is actually performable – something automatized like the word Lele.

Darko Aleksovski: The project was very well received by the audience, other artists and critics. Does it have another aspect of it, that is directed as a critique towards the whole Macedonian art system?

Dragana Zarevska/ Jasna Dimitrovska: Thank you for this notion. Actually it was fantastic how great it was received. Our work can often be seen as an overlap between theory, movement, process and production. The contextualization of these things shapes the performative events we present that test and deconstruct different versions of reality and its geography, directly related to awareness of the possibilities of language. We criticize language/es through language. 

Darko Aleksovski: Do you see ‘lele’ differently, now that you have made a project out of it?

Dragana Zarevska/ Jasna Dimitrovska: Yes we do. We got de-familiarized with it (by getting hiper-familiarized), while, at the same time we started to think of it as of our own word, which is pretty selfish. We totally “adopted” it. Other people who came to our performances also tell us they experience it a bit differently than before, one friend said “Whenever I say Lele I think of you!”. We know this might sound weird and vain, but it seems we assimilated it as our own piece of art, and the truth is – it is so not ours, it is everyone’s. We surely assimilated the illusion of having it as ours though.

more about the artists: zarevska [at] gmail.com, yasna.dimitrovska [at] gmail.com

Darko Aleksovski interviews artist Toni Dimitrov about his work ‘Total surveillance’ featured in the group exhibition SEAFair ’11  ‘Energy, Biopolitics, Resistance strategies and Cultural subversion’. Curated by Melentie Pandilovski, Elena Veljanovska, Zoran Petrovski, ending on the 20th November at the Skopje Museum of Contemporary Art, SEECAN (South East European Contemporary Art Network) and Kontejner, Zagreb. SEAFair 2011 contextualises the artistic and theoretical discourses developing around Bio-politics, aiming at re-evaluating its meaning today, as well as address the possibilities for resisting the dominant international discourses through emancipation and cultural subversion.

Darko Aleksovski: Inspiration is a term which has been differently interpreted throughout the history of art, but generally implies the genealogy of the idea. What was the main inspiration for a project like this? Can you tell us about your references (other similar projects, theory, philosophy, etc)?

Toni Dimitrov: Throughout the twentieth century, art changed its forms of representation. Representation through painting, making objects and visual contemplation, and prior to all – the mimesis – artists changed them with new ways of representation which more and more directly respond and represent the changes in the society, emphasising process, concept, action, interaction, new media, technology, surroundings and of course, the critical discourse… The thing that challenged, and still challenges me to express is the critical discourse and the resignation which is a result of the systematised life and the limitations of the system. It is that primordial anger which one feels at the moment of gaining awareness, when we actually realise where and how we live. Everything that is presented to us as a system that aims to ease our life, is not actually quite so. Take for instance, science and technology, and their goal to “work” for the benefit of humanity. It is not just that they do not seem to make life easier, but on the contrary their usage is harmful for humanity. Exactly from the moment when the greatest hopes were given to technology, science and the great theories, they seem to have failed to fulfill the expectations. Instead of being tools for achieving the ideals of humanity and attaining prosperity, they are becoming the most powerful tools of the system for establishing new forms of power and domination. That same indignation generated from this cognition is my greatest inspiration, from my first critical artwork, through to some other art project, different philosophical essays, and until now.

As inspiration from philosophy, primarily I can mention Baudrillard and Virilio, who precisely vivisect contemporary reality. Then my greatest interest for the utopians and anti-utopians from More and Campanella, who criticise the system at the moment by offering a solution, and all the way to Orwell, Zamyatin and, of course, Huxley, who gives the most precise image of the society we live in – benevolent totalitarianism. I also need to mention the Frankfurt School through From, Horkheimer, Adorno and of course Markuse and other contemporary scholars like Zygmunt Bauman, Ulrich Beck, Frank Furedi, Lars Svendsen…

Darko Aleksovski: To which extent digital media is important for you as an artist? Do you regard the digital artworks to be carriers of more information in a present day digital surplus, or you think that art necessary expresses through digital media because it is the prevalent media in today’s life? How much is the ready-made aspect of this project necessary?

Toni Dimitrov: Digital art affirms all these social changes and at the same time offers a departure from them, leaving different questions from different areas in the center of the discussion. Unambiguously, digital art develops wider contexts and penetrates in other different fields like philosophy, physics, linguistics, semiotics, politics, sociology, even biology. When you visit an exhibition like this, you no more have the feeling that you are at an exhibition where you should experience something beautiful, but you feel like being in a lab where something new is created, something unacceptable even for science itself. Ethic rules and scientific methods have no significance here. Some of those works went too far and by looking at them, you are likely to feel disgust or resignation, feelings that are important for expressing the critical dimension and gaining awareness.

Concerning the ready-made aspect of the digital art, we have to agree with Walter Benjamin, who considers that through making reproductions, the unique experience is replaced by many others and the replication contributes to the loss of the aura of the artwork, with the fact that the artwork through the process of distribution, is not so original, unrepeatable, unique, but can be reproduced and replicated. Simply, the uniqueness of the original is transformed in infiniteness or many others. That is one of the main critical perspectives addressed towards the art that originates after the mechanical reproduction and the development of arts such as film, photography, printmaking, and today we can include a wide variety of digital arts, where practically the original is not present. Here art loses its uniqueness, or aura to be more precise, but receives the “readiness” of the ready-made aspect.

Besides this critique with which I agree, I still think that art/music are created today to be seen/heard today, and not after ten years when they will be a part of the history. This means that art today is created with digital tools and digital media, equally as electronic music is created. In my opinion one should be current and to express through momentary assets, in order to express and present the new social and critical streams more precisely. On the other hand, this does not mean that we should not use classical media in a contemporary way and that I do not draw, or even make a mosaic, but still “officially” I use digital media and conceptual art to express myself and to address a critique.

Darko Aleksovski: Do you consider your project as a critique towards the social apparatus and the instrumentalised life, or towards the inert subject, instructed to accept ready-made social situations?

Toni Dimitrov: Of course the critique is directly addressed to the society and the system. Society is the one who possesses the monopole of power and imposes these aspects of subtle, total control. However, the subject itself is not spared from the critique, precisely because of his inertness, because he does not react against this imposition, but unconditionally accepts it under the vague excuses that all of it is for “his own good”, for his security, protection, etc. Still this imposition is generated by the system, through the upbringing, educating and modeling of the subject itself, so it is more than obvious who is to blame for this condition.

“Total surveillance” addresses the critique towards one of the most explicit “benefits” of contemporary society, which is so much present in our everyday life, that we do not even notice it. The project refers to the anti-utopian dimensions society gets in today’s context. The exposure to constant surveillance is the subject of the anti-utopian works, which precisely anticipate the consequences of irregular use of technology, and the philosophical dimension of which totally corresponds with our present.

It is in these points that we see the postmodern analysis of institutions and discourses of modern art and the ways in which they normalise and discipline the subjects, analyses of the new communication technology, mass-media and their mechanisms of establishing power and domination… We see a critique directly addressed towards today’s modern forms of power which establish new forms of domination. The critique towards information and communication technologies that contribute to the development of human capacities, decomposition of the centralised structure and concentration of power, democratisation of culture… as much as they contribute to the depersonalisation of individuals and manipulation of people.

The realisation of this progress is a vision of the anti-utopia made real, realisation for which time is becoming increasingly shorter. Today we see that, the anti-utopian predictions for the negative consequences of technological and social development are realised with surgeon’s precision, in all of its wide variety, realised through social restrictions, concentration of power, social insecurity, depersonalisation of the individual, destroying of the emotions, control via mass media, mass production, instant entertainment… All these are described and anticipated by the smallest detail, in the works of the anti-utopians years before they became reality.

Darko Aleksovski: Do you see art as the most relevant way for critical actions?

Toni Dimitrov: No. Art is just one, maybe the most banal, but still most receptive way of critical action which will not leave many traces in reality. Art is a paradigm which represents things in a symbolic way. That does not mean that art is insignificant and that there are not examples of art and its critique generating a change or at least raising awareness of some issues, but still it is an accompanying method for addressing direct critique. Theory/ philosophy MUST be inevitable part of the art through which it gets the crucial point for a direct critique and eventually initiating changes. Art without theoretical basis is nearly empty art.

Darko Aleksovski: Your project is a vicious circle copy of the surveillance cameras. To which extent this artistic situation is a replica of the real one, or you consider the real situation to be even worse? How much you think engaged and critical art are perceived nowadays, considering the dispersed art system?

Toni Dimitrov: Unfortunately too true a copy of reality. When you enter the exhibition room, you practically enter a real situation, i.e. you exit in the social reality. This is practically a copy of the social system which we live in. In that case there is no need for gradation of better or worse situation. Go out on the street, pass by the surveillance cameras and feel it. There were mixed reactions when visitors entered the exhibition room, most of them were real, expressed with unpleasant feeling and disgust when they realise they are uncoated and observed from every side. It is the very same thing that happens in every institution and outside on the streets, but we are unaware of who is observing us. That is the feeling I conveyed here; the feeling when you see the results of the observation. It is a precise reflection of the anti-utopian character of our society which develops in this direction mediated by technology.

On the other hand the technological revolution that happened in the last fifty years and the IT revolution created in the digital age, also created fundamental changes in society and the way it functions, even in the physical space. For Virilio, even reality is divided or more accurately it is substituted with another – a virtual one that becomes more powerful mediated by the new technologies. That is why the essay that goes along with the installation begins with a quote by Virilio: One day the virtual world might overwhelm over the real world. This is that same virtual reality in which monitors you look at your existence. It is Virilio that warned us that almost every critique toward the technology disappeared and that we unconsciously accept every innovation without critical view on its consequences, by which we slip in the dogmatism of totalitarian techno-culture. All of this is criticising the way technology changes the contemporary world and human himself, recognising a key factor in technology that determines the modern world.

Finally “Total surveillance” represents a kind of video installation or a network/structure composed of video cameras, video projectors and screens which mutually intersect and constantly record the object/viewer in front of them, from every angle. The viewer, with his/her presence is a participator and part of it at the same time. The cameras record his presence from all four sides, and the viewer is capable of watching the recordings on the screen in front of him i.e. to watch himself. It is about the total surveillance of the viewer, but one in which the viewer is under surveillance by himself from every side and perspectives which are usually invisible for him. In the surveillance, other viewers in the room are also included, by watching themselves, or by watching other viewers. With this, you get a network of crossed cameras and projectors which project images of the viewer from every side, fill the whole room and complement it with the visual noise of the space. This replication and reproduction creates a projection of the viewer in the screens, outside himself, in a sort of virtual world, which continues to infinity, similar to a mirror projected in another mirror, gaining new and new aesthetical forms, a product of the replication and reproduction of themselves.

More information about the project and the artist: tonidimitrov [at] gmail.com
All images by Ilija Madzarovski. 

ENTER IMAGE ESSAY

On 28th October 2011, I travelled to Sète in the South of France to see and review Annie Abrahams’ show Training for a Better World.

The first of two reviews (the second will be somewhat longer and in an academic journal later this year) is now available on DVblog.

What was particularly pleasing about going to the press view and then staying on for the opening proper was the opportunity to engage with the work over quite a long period – some four hours.

About halfway through the evening, I started both photographing and sketching as aides-memoire for my reviews, but I soon began to enjoy the feeling of responding to the work for its own sake, and I began to think about presenting the drawings and photographs (plus some drawings made from the photos two days later, as well as a couple of manipulated photos) as a kind of photo-essay/derivative work.

Here it is.

The Transborder Immigrant Tool (TBT) is a project created by the University of California at San Diego’s Electronic Disturbance Theater (EDT) 2.0/b.a.n.g. lab, and still evolving today. Here Ricardo Dominguez, co-founder of EDT (with Brett Stalbaum), Principal Investigator of b.a.n.g. lab, and Associate Professor in the Visual Arts Department at UCSD, discusses the project with Lawrence Bird. The interview includes input from other members of the collective: Brett Stalbaum, Micha Cardenas, Amy Sara Carroll and Elle Mehrmand.

Lawrence Bird: Simply put, the Transborder Immigrant Tool is a hand-held device to aid crossers of the Mexico-US border. As far as the cultural and political implications of this device, it’s loaded. But as a starting point, could you tell us a little bit about the technical side of the device?

Ricardo Dominguez: We began with the basic question: what ubiquitous technology would allow us to create an inexpensive tool to support the finding of water caches left in the Southern California desert by NGO’s? Our answer was that the sub-$20 iMotorola phone series could be made useful for emergency navigation. The early generation of the platform we targeted can be made reasonably useful in a better-than-nothing scenario. Meanwhile, later phone generations (that don’t yet cross our price barrier but are getting closer everyday) are already fully useful as practical aids without even a SIM card installed or an available network service. With proper use, the GPS performance of newer phones equals any GPS designed for desert navigation, and their used prices are falling. Moreover, GPS itself does not require service and has free global coverage, courtesy of the United States government. In an emergency scenario, we trust these later mobiles to direct a lost person to a nearby safety site. The TBT’s code is also available on-line to download at walkingtools.net, sans water cache locations, for any individual or community to use for their GPS investigations.

Lawrence Bird: It’s an interesting instance of technology intersecting with geography. You have referred to Donna Haraway’s work in your own comments on the intersection between “border crossing” and other forms of “trans”-being. Would it be accurate to see the TBT as a cyborg component; and if so, what does this mean for the relationship between technology, politics and poetics?

Ricardo Dominguez: Part of the TBT project is to call into question the northern cone’s imaginary about who has priority and control of who can become a cyborg or “trans” human – and immigrants are always presented as less-than-human and certainly not part of a community which is establishing and inventing new forms of life. When in fact these flowing in-between immigrant communities are a deep part of the current condition that Haraway’s research has been pointing towards – for us it is a queer turn in its emergence, both as unexpected and as desire. The investigation of queer technology and what this queering effect has been or might be is an important part of our conversations – especially via Micha Cardenas’ research. This gesture dislocates the techno-political effect with aesthetic affects that become something other than code: a performative matrix that fractalizes and reverses the disorder of things with excessive transbodies acting from the inside-out of those enforced borderless borders. These affects assemble new empirico-tran(s)cendental forms of multi-presence(s) incommensurable with the capitalist socius of the so called “immaterial” Empire. As the Zapatistas say, “we do not move at the speed of technology, but at the speed of dreams” – the heart of the trans-border-borg.

Lawrence Bird: As you say, that –borg is spatial. Do you do any work with professionals of space design – for example, you have mentioned elsewhere the architect Teddy Cruz, who’s done design projects and spatial analyses focused on the Mexico-US border, especially urban borders?

Ricardo Dominguez: We have not worked directly with any urban space designers, such as Teddy Cruz, who teaches here at the Visual Arts Department at UCSD as well – but we have learned a great deal about the nature of the border-as-design and auto-assemblage – especially from the Political Equator gatherings that he has been at the forefront in creating. But recently we were invited to create a gesture for Political Equator 3 that we really enjoyed and offered a poetic materialization of bringing TBT into Mexico: at 12:30 p.m on June 4th, 2011 the Transborder Immigrant Tool was walked into Tijuana, Mexico via an aquaduct from the U.S. side of the border by artist Marlène Ramírez-Cancio (a video of this event is embedded above).

Lawrence Bird: Does any of this work intersect with American fear over border permeability to terrorism? The criticisms of TBT seem to focus on economic migration but the reaction bleeds into fears over security.

Ricardo Dominguez: TBT does crisscross a number of these types of affective conditions that have been floating around the border since 9/11; or one might push it back to early formations of the Mexico/U.S. border. And yes, it intersects with the growing state of fear in the U.S. (and around the world) about immigrants dismantling the U.S. economy – which has always struck me as extremely ironic – since as we have encountered in these past couple of decades, neo-liberal economics on a global scale have done much more to dissolve the romance of the nation via a series of self-made economic bombs than any immigrant “invasion.”

Lawrence Bird: In fact your development of this tool has come at a significant personal cost. You’ve been accused of supporting illegal activity and misuse of public funds. You’ve been called a traitor. Your position at UCSD was threatened. Could you talk about that and where this situation stands today?

Ricardo Dominguez: The entire group of artists who are part of Electronic Disturbance Theater 2.0/b.a.n.g. lab working on the Transborder Immigrant Tool (TBT) was being investigated by UCSD and 3 Republican Congressmen starting on January 11, 2010. Then I came under investigation for the virtual sit-in performance (which joined communities statewide against the rising students fees in the UC system and the dismantling of educational support for K–12 across California) against the UC Office of the President (UCOP) on March 4, 2010. This was then followed by an investigation by the FBI Office of Cybercrimes. So, it was three investigations in total— and they were all seeking to find a way to stop TBT and threaten to de-tenure me for doing the very work I was hired to do and then tenured for. In the end all the investigations were dropped. I did agree not to do another virtual sit-in performance on the UCOP for four years, but the day I signed the agreement, a number of supporters across the nation did a virtual sit-in on UCOP again. One strange element about the agreement that they wanted me to sign without even giving me or my legal team time to look it over was that I would never speak or write about what had happened, create any artwork that might disturb anyone and refrain from an artivist performances. Of course I agreed to none of it.

Lawrence Bird: The vitriol in the attacks on you is remarkable, and disturbing: you received a great deal of hate mail and a number of death threats because of this project. You mention in your play Sustenance (published in Artists & Activists 12) that these messages “constellate into remarkable patterns”, form a chart as it were of the agitated contemporary discourse over immigration, security, and national purity vs. liberty. It’s significant that you’ve built a play around this. Do you see the political and popular response to your project (you refer to it as “viral reportage”) as part of the TBT’s performative aspect?

Ricardo Dominguez: Part of the history of the Electronic Disturbance Theater 1.0/2.0 and b.a.n.g. lab (stands for bits, atoms, neurons and genes) at CALIT2/UCSD has been to develop works that can create a performative matrix that activate and take a measure of the current conditions and intensities of power/s, communities and their anxieties or resistances. So, for us the U.S. Department of Defense launching “info-weapons” at us for a virtual sit-in on September 9^th, 1998 or the current confluence of “viral reportage” and the affective contagion of hate about the project that followed are all part of the performance – of course we would much rather the hate-mail never occurred – dominant media is bad enough to deal with. The aesthetics of working in the zones of post-contemporary artivist gestures cannot really escape these types of encounters; it is part and parcel of the patina of our work. But, we also feel that the hate mail or the general fear of losing national purity is co-equal in importance with the poetry that they were attacking. In fact Glenn Beck, an extreme right wing pundit on the Fox News Channel, attacked not only TBT’s use of poetry, but that the poetry itself had the power to “dissolve” the nation.  The performative matrix of TBT allows viral reportage, hate-mail, GPS, poetry, the Mexico/U.S. border, immigrants,  to encounter one another in a state of frisson – a frisson that seeks to ask what is sustenance under the sign of globalization-is-borderization.

Lawrence Bird: Can you tell us a little more about the poetry that accompanies the guidance system? How was this chosen, what does it concern? How do you envision the poetry developing as the project continues? 

Ricardo Dominguez: Electronic Disturbance Theater 1.0/2.0 has always been invested in experimental poetry as part of its gestures – from the found poetry of the “404 file not found” of our ECD performances in 90’s to the border hack actions with the Zapatista Tribal Port Scan in 2000 on U.S. Border Patrol servers, where we would scan and upload Zapatista poems that we had written into their servers. When we started to develop TBT it became important once again to have a core impulse of the gesture. In 2008 I asked my partner, Amy Sara Carroll, who is an experimental poet and scholar, at University of Michigan, Ann Arbor – one of the areas of her research is on art and Mexican/U.S. border. She thought that TBT becoming a geo-poetic-system (gps) could expand the frame of experimental poetry and artivism. She then began to work with us and established two geo-poetic tracks – one conceptual and the other an echoing of desert survival manuals in multiple languages, which speaks to the multiple borders that are crisscrossing the planet and the multiple languages that are crossing Mexican/U.S. border via immigrants. Here is Amy speaking about TBT:

“…my collaboration with Electronic Disturbance Theatre (EDT) on the Transborder Immigrant Tool…(is) imagined as a global project under development, my own involvement in that ongoing process is linked to the question of what constitutes sustenance in the quotidian of the conceptual, on the varied musical scales of the micro- and macro-. For, often—rightly enough—conversations about crossing the Mexico-U.S. border refer to disorientation, sun exposure, lack of water. The Transborder Immigrant Tool attempts to address those vicissitudes, but also to remember that the aesthetic—freighted with the unbearable weight of ‘love’—too, sustains. A poetic gesture from its inception, the Transborder Immigrant Tool functions, via the aspirations of such a dislocative medium, as dislocative media, seeking to realize the possibilities of G.P.S. as both a ‘global positioning system’ and, what, in another context, Laura Borràs Castanyer and Juan B. Gutiérrez have termed, a ‘global poetic system.’ The Transborder Immigrant Tool includes poems for psychic consultation, spoken words of encouragement and welcome, which I am writing and co-designing in the mindset of Audre Lorde’s pronouncement that ‘poetry is not a luxury.’ … speaks to the Transborder Immigrant Tool’s overarching commitment to global citizenship. For, the excerpt, itself infused with the ‘transversal logic’ of the poetic, acts as one of the Transborder Immigrant Tool’s internal compasses, clarifying the ways and means by which I and my collaborators approach this project as ethically inflected, as transcending the local of (bi-)national politics, of borders and their policing.” http://bang.calit2.net/xborderblog/?tag=poetry

Here is a poem that made Glenn Beck extremely angry:

TRANSITION
(song of my cells)

Gloria Anzaldúa writes, “We have a tradition of migration, a tradition of long walks. Today we are witnessing la migración de los pueblos mexicanos, the return odyssey to the historical/mythological Aztlán” (1999 [1987]: 33). The historical? The mythological? Aztlán? It’s difficult to follow the soundings of that song. Today’s borders and circuits speak at “lower frequencies,” are “shot through with chips of Messianic time.” Might (O chondria!): imagine the chips’ transliteralization and you have “arrived” at the engines of a global positioning system—the transitivity of the Transborder Immigrant Tool. Too: when you outgrow that definition, look for the “trans-” of transcendental -isms, imperfect as overwound pocketwatches, “off”-beat as subliminalities (alternate forms of energy which exceed Reason’s predetermined star maps). Pointedly past Walden-pondering, el otro lado de flâneur-floundering—draw a circle, now “irse por la tangente”—neither gray nor grey (nor black-and-white). Arco-iris: flight, a fight. Of fancy. This Bridge Called my Back, my heart, my head, my cock, my cunt, my tunnel. Vision: You. Are. Crossing. Into. Me.

 Here is a beautiful video version that Micha Cardenas and Elle Mehrmand did of the poem: http://bang.calit2.net/xborderblog/?p=49

In the strongest possible sense poetic practice has emerged in TBT that is co-equal with Brett Stalbaum’s idea of a “last mile” tool and his development of the code necessary to have it work. In fact we also think of the code-as-poetry as well – an expansion of codeswitching – literally.

Here is one of the desert survival poems:

En última instancia, muchos dirán que

la naturaleza establece el estándar de

la neutralidad. A diferencia de los seres

humanos, la naturaleza no hace lazos

de lealtad con la nación, la familia, los

negocios o la religión. Usted sabe bien

que el mayor peligro que enfrentará en el

desierto puede no ser el clima o el terreno.

Habrá quienes no tengan en consideración

su bienestar. Los rescatistas tienen el

compromiso de ayudar a quien lo necesite;

exíjales cumplir esa promesa. No confíe su

vida a nadie más, a ningún extraño.

All them are available in multiple languages to the user on TBT.

Lawrence Bird: How do you navigate the legal issues? Did you have a strategy in place ahead of time for dealing with these, or have you had to deal with them ad-hoc? Does your strategy/defense link up at any level with that of apprehended border-crossers?

Ricardo Dominguez: We are not attempting to navigate “legal” (national or international) issues – but we are trying to establish a reconfiguration of the border and immigration in terms of what we are calling transborder justice – the question of a “higher law” doctrine that David Henry Thoreau established in On Civil Disobedience. Also, in a more speculative manner as artists we see TBT as still in the process of becoming – it is still shape shifting and performing itself into potential spaces of use and poetics. TBT is border disturbance art that constitutes a visible geo-aesthetic/geo-ethics gesture against the boundaries and borderless borders that are crisscrossing every single body on the planet – we call for a geo-aesthetics that starts at the nanoscale and reaches to the GPS (Global Position System) grid system that floats around the planet, we call for a geo-aesthetics that connects both the human and the inhuman, geography and ethics, we call for a geo-aesthetics that crosses into and dislocates the smooth space of geo-spatial mobility with ethical objects for multiple forms of sustenance. We live in a world where only goods and services have rights to cross borders – a world that is a chaosmosis of markets that demand global exchange and aggressive state social filters. We need a geo-aesthetics that can construct ethical and performative complexities for the new earths to come, that can touch new geographies for new bodies – transbodies with transborder rights – artwork that can function as a geo-philosophy for bodies that are flowing as transborder bodies across all the borders the world – a flowing-trans-nation the planet cannot survive without.

Lawrence Bird: Have you considered applications of the TBT more globally, in Europe for example, or the Canada/US border, which has its own tensions relating to indigenous sovereignty? Or would this take it out of the specific politics you want to focus on?

Ricardo Dominguez: We imagine TBT’s code and gesture as open to use on multiple borders and that it is not bound to just the Mexico/U.S. border. One way that we have attempted to promote this possibility is by making the code available to anyone or any group at walkingtools.net.

Lawrence Bird: How extensively has your system been used on the Mexico/U.S. border? Or is it primarily rhetorical so far (it’s certainly been successful that way). How is it coordinated with others’ humanitarian efforts for border-crossers?

Ricardo Dominguez: On a very practical level our work with NGO’s has been focused on working with groups in Southern California who have established networks of water caches for immigrants crossing that area of the border – specifically Water Stations Inc. and Border Angels. Water Stations Inc., the longest running NGO working on this issue, has been very open to helping us test TBT and has also offered us extremely important insights into what the real conditions on the ground and what problems immigrants are facing. We recommend that if folks have funds to donate to these groups – please do. They were very wary of us at first – but they have now become much more supportive – especially because of the work that Brett Stalbaum and his partner, artist Paula Poole, have done in with them beyond TBT.

On the rhetorical end of the gesture much of the work that we do at b.a.n.g. lab is to start our research as a politics of rehearsal, a rehearsal of politics, as part of our art practice – to create an aesthetic of minor-signals and lower-frequencies…”like physics, aesthetics is a science whose primary object is signals, the physical materiality of signs….”– to quote from a recent tweet by Jussi Parikka. To manifest a type of science of the oppressed or engineering of the oppressed that imagines creating speculations that automatically, conceptually, begin to disturb not only the lines of thinking that criss-cross not only our bodies, but the ecologies of the Americas, and certainly the globe. And, so it becomes necessary to create these speculative disturbances that can allow one to think about another possibility, another impossibility, that these systems both manifest and, at the same time, call for an “anti-anti-utopian” potentiality, so that the engineering of the oppressed, the science of the oppressed, is about rehearsing the fictions that will then become realities. Our work in one sense is simply a gesture of “plagiarism”—a cutting and pasting of what is already an assemblage or a system that exists because immigrants are crossing multiple spaces around the world and GPS is everywhere in our cloudy global Empire.  And so TBT itself is an attempt to create the multiple layers that manifest the social frictions, the speculative fictions, the rehearsal of politics, and of a counter-machine aesthetics—a machine of difference that can only really be performed by more than the multitude, if you will, to interrupt what Mary Pat Brady calls the U.S/Mexico border, “a state-sponsored aesthetic project.” We can see how these speculative gestures do create social responses on a global scale.

Lawrence Bird: TBT doesn’t just provide a map and way of locating oneself, it offers directions to various support services – where to find water, medical help. How are such safe sites managed and their position made public without making them vulnerable to border patrols? Are there any ethical issues involved here?

Ricardo Dominguez: The water cache sites are already well known by the U.S. Border Patrol, Homeland Security and anyone else who cares to take a trip along the Anza-Borrego desert in Southern California – in fact they have large flags signaling their locations. So TBT at this point is only doing one thing – offering the location of these known and established water caches – as a last-mile safety tool and nothing more. The cell phones we are using are not robust enough for anything else – now as more cheap high-end phones come on the market TBT will be able to offer more on multiple levels. So the ethical questions about TBT on the U.S. side of the border are not as complicated as those on the Mexico side of the border: these are questions about how TBT would interact with the coyote networks, would it be just one more material burden to those crossing, how does the extreme violence of the narco-war shut down the abilities of NGO’s etc., to work on distributing TBT with us – these questions seem much more important in terms of the ethics of the project  – would it do more harm than good? Or is it a gesture that would offer a way out for some immigrants from the violence of these dangerous networks that they have to deal with in order to cross? At this point due to all last year’s issues we have not been able to formally present TBT to the immigrant communities preparing to cross to have a dialogue about these questions – but we are hoping to move forward with these encounters – sans any further investigations.

Lawrence Bird: And how has TBT been taken on the Mexican side – what is it’s perception on the part of Mexican citizens, politicians, media? I’m curious how their reaction compares to the response on the American side, which approached violence.

Ricardo Dominguez: It is difficult for us to access Mexico’s response to TBT in relation to coyote economies or the narco-war on the border – these are zones that we have not attempted to have conversations with or have correspondences with. But EDT 2.0 is concerned about how TBT might function within or alongside these violent enclosures that immigrants have to deal with on multiple levels. We do not want TBT to become an attractor for immigrants who are already targets for these groups. But what we can say is that Mexico’s dominant media and alter-media networks, from Tijuana to Chiapas, have been very responsive and supportive of TBT. One of the first awards TBT received was in 2007 from the new media arts festival Transito_MX, who awarded TBT the “trans-communities award,” and the award was handed to us by a representative of the U.S. Embassy in Mexico.  So at this time the response to TBT is both unknown and known. Another concern that we have and that we hope to be able to have a better sense of by the end of the year is how the design works for immigrants, and to what degree do they consider it useful as an art work and “last mile” safety tool – this will be done via workshops with potential immigrants in Tijuana, Mexico. Also one of the core questions we will have, based on all the materials that immigrants leave in the desert while crossing –  the heat and difficulty of crossing call for dropping as much away from the body as possible, from money, to telephone numbers, to pictures of loved ones, etc.  – is one more thing to weigh one down really necessary? These are EDT 2.0’s concerns at this time in relation to the border on the Mexican side.

Lawrence Bird: You mention that what drives border crossers is a hope that amounts to a “hope for the unknown”? Could you elaborate on this? At any level do you see a contradiction between this and the technologies of transparency, like GPS?

Ricardo Dominguez: The radical gesture of transparency was extremely important to EDT 1.0 in relation to Electronic Civil Disobedience as theory and practice and it still is in relation to the general distribution of TBT – who were are, where we are, and why we are doing it. But we are also very interested in the notion of translucency as an aesthetic possibility for TBT that functions to dislocate the readability of GPS (Global Positioning System) and gps (a geo-poetic system) – a minor form of the technology that is no longer bound to the total vision of GPS that is now embedded in almost everything. This translucency functions as a single-bounce GPS that initiates the database of TBT and then shuts off – thus making triangulation impossible – unless the user decided to turn the function on during the crossing. TBT’s gps creates an aesthetic disturbance that dislocates GPS as a transparent device and instead offers a navigational translucency of the “last mile” with hope-as-sustenance as its guiding wave-point.

Lawrence Bird: In Sustenance you refer in passing to Baudrillard’s “desert of the Real”. It’s a compelling way of looking at the border desert where migrants are abandoned in their pursuit of the American fantasy. But adopting a perhaps more humanist attitude, would it be remiss to recall Saint-Exupéry’s words that “Ce qui embellit le desert…c’est qu’il cache un puits quelque part.” / “What makes a desert beautiful is that, somewhere, it hides a well.” Perhaps based on that juxtaposition, how would you place your project in relation to the tension between poetry, activist politics, and humanitarianism?

Ricardo Dominguez: TBT is still in a (gps) process of becoming – it is still shape-shifting and performing itself into potential spaces of use for activists and expanding the frame of dislocative poetics. TBT is border disturbance art that constitutes a waterwitching tool that indeed crosses the desert of the Real, the hard simulations of the border which seek to target and kill. It offers another possibility – with the anti-anti-utopian offer of the desert’s “beauty” that you are keying into the conversation. We imagine that this gesture echoes  practices that fractalize the desert’s geo-aesthetics as: artivism, tactical poetries, hacktivism(s), new media theater, border disturbance art/technologies, augmented realities, speculative cartographies, queer technologies, transnational feminisms and code, digital Zapatismo, dislocative gps, intergalactic performances, [add your own______].

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. This collection is intended to inspire, inform and enable people to apply peer-to-peer principles for making things and getting organised together. We hope that all art lovers, makers, thinkers, organisers and strategists will find something for them from this set of imaginative, communitarian and dynamic contemporary practices.

View the collection:

Commissioned and hosted by Arts Council England 2011

Mirrored at the Foundation for Peer to Peer Alternatives

This collection was produced by Furtherfield, commissioned by Arts Council England for Thinking Digital, in 2011. Curated by Ruth Catlow and Marc Garrett with additional texts by Charlotte Frost and Rhea Myers.