Codasign, in partnership with Furtherfield, will be running a new series of creative technology workshops for different ages at Furtherfield Commons, a hub to connect and activate local and international communities of artists, technologists, thinkers and doers.
Interactive Puppet and Story Workshop
Saturday 15 February 2014
10am – 12:30pm – 6-9 year olds
2-4:30pm – 9-12 year olds
Come and learn how to create your very own interactive hand puppet which tells you a story using Scratch and MaKey MaKey!
Create a Tron Hoodie
Sunday 23 February 2014
11am – 1pm
Upcycle your hoodie using electroluminescent wire.
Make Your Own Platform Game With Scratch
Saturday 1 March 2014
10am – 12pm – 6-9 year olds
1:30-4pm – 9-12 year olds
Learn how to create your very own platform based computer game in Scratch!
Miniature Circuit House
Saturday 15 March 2014
10am – 12pm – 6-9 year olds
1:30 – 3:30pm – 9-12 year olds
Wire up your own shoebox sized house using different electronic components which will be inserted into a circuit drawn with Bare Conductive‘s paint.
Soft circuit phone badge
Saturday 22 March 2014
10am – 1pm
Create a soft circuit badge which flashes when your phone receives a text message or is ringing.
Make a Musical Instrument with Paint, Scratch and MaKey MaKey
Saturday 24 May 2014
10am – 12pm – 6-9 year olds
1:30 – 4pm – 9-12 year olds
Come and learn how to make a conductive painting to control a musical instrument that you’ve created in Scratch and MaKey MaKey!
For more information and to book a place to any of the workshops please visit Codasign website.
All supporting material for the workshop will be available at learning.codasign.com.
VISITING INFO
Located by Finsbury Gate entrance on Seven Sisters Road
T: 0208 802 1301
E: info@furtherfield.org
Just think about the ordinary, and by that I mean not an ordinary life, event, custom, or thing (at least not yet), but the ordinary as such.
We can never fully exhaust the ordinary – how could we? For as sure as we try to get close, the ordinary becomes something else. Elusive – in the same way that words, peoples, names and symbols become strange if we concentrate on them too long. Neither does anyone grasp the ordinary in sheer ignorance, because its ordinariness just evaporates in retrospect. The ordinary claims little attention only because it is ordinary and is implicitly taken on that account. The extraordinariness of the ordinary has to be rejected if its implicitness becomes something we unavoidably accept. Yet, its givenness appears unproblematic insofar as it remains unacknowledged. The ordinary is what happens when we’re concentrating on something else: it is what constitutes the ontological furniture of the world.
Nevertheless, the ordinary remains drastically important, as it always was: and yet its implicitness already remains curiously forgotten, waiting to be exposed or made present. As Charles Bernstein writes in The Art and Practice of the Ordinary, “any attempt to fix the ordinary pulls it out of the everydayness in which it is situated, from which it seems to derive its power.” Representations and objectifications of the ordinary claim transparency to its own cost.
“Science” wishes to naturalise the ordinary into a neat little piecemeal encroachments of textbook knowledge and then move towards the next eliminative paradigm. Technology commandeers the ordinary seeking to render it more efficient and effective for the benefits of, well, hardly anyone but futurists. Traditionalists seek to undermine the ordinary in favour of some primordial ordinary which benefits some reactionary stupor. Global neo-liberalism commandeers the ordinary even further, waging that no-one will change anything in it for lack of time or for opposing the marketplace. Everyone has access to the ordinary, even though the ordinary remains unaccessible.
Yet it seems that whatever we do, whatever new particle is discovered, whatever new economic theory found, or new conceptual scheme offered – the coordinates of “normality” and “convention” might change, for some at least, but soon after the ordinary returns, with a hidden shrug and an hour to kill. Faster computation and digital transmission may have egged a generational shift of Western production, knowledge, communication, control, community, yet the ordinary still prevails only by re-shifting and re-configuring itself: different uses, words, things, together with different uses of words and things. The concrete acknowledgement of banal yet entirely extra-ordinary things constitute the bizarre ecology of the ordinary, which operates regardless: detached memes, first-world jokes, boredom, mediocre top 10s, compassion, political intrigue, scoops, as well as emotional heartache.
Different cultures, tribes, gangs, and communities have their ordinaries: everyday customs and uses, most different, some utterly indifferent to one other. Some ordinary customs hold the relevancy of others to account. Yet the ordinary is clearly there, unshakeable and implicit, yet also unmistakable and haunting, without any essence of natural custom to which it can be easily assigned. It has just a background assumption of ‘bleh’, or ‘meh’ with no distinctive features to explicitly signal its silent functioning.
Why am I waxing lyrical abut such matters? I do so in the effort of introducing an underdeveloped but convergent alternative. Not one that has any justification nor merit of its own, but one that exists, for the most part, as an epistemological alternative to what has hitherto been called accelerationism: and how the tensions and similarities of both positions impact art, literature, science and especially systems.
The doctrine of accelerationism is accelerating, as it should be (Twitter hashtags and all) making giant leaps in art and cultural theory circles. By no means does it signal anything concrete, (at least not yet) than it provokes the insistent beginnings of a modern political doctrine: one that joins up similar threads of interest across disparate thinkers and topics. Of late, it has enjoyed multiple discussions online, a recent symposium in Berlin, the sole topic for an e-flux journal on aesthetics, a forum held last year, and an expectant anthology from Urbanomic.
Coined by Benjamin Noys in The Persistence of the Negative: A Critique of Contemporary Continental Theory, the acceletrationist doctrine takes many forms, but by and large, its aim is to accelerate, conceive, invert and uproot capitalist infrastructures and abstractions using the abstract epistemic resources of capitalism itself. For Marx and Engels this required the dialectical development of capitalist contraction towards its ‘inevitable’ destruction. Deleuze and Guattari famously mused that the process of capital was to be accelerated, and in its darker, more heightened levels (most famously, the macabre futurist machinic practice of Nick Land), it meant pushing the social deterritorialising force of capitalism into its inevitable post-capitalist future.
In its early stages, accelerationism established a darker, more virulently techno-nihilistic strain of theoretical terror. Land was spellbound by the 90s demonic growth of neoliberalism: for it possessed, not just some freaky quality of being utterly impervious to any resistance of leftist critique, but the singular quality of accelerating unparalleled technological progress. Land’s future was a rumbling techno-capital singularity smuggling itself within collapsing human civilisations until the latter would eventually be creamed off. These views eventually drove Land out of academia but remained a curious alternative to other political responses: a darker alternative to fields of protest, against disruption, antonomist intervention, situationist détournement, hackitivism or a resuscitated dialectical antagonism.
Filtering out the hysteric reactionary stupor of Land’s thought, contemporary thinkers have begun to rethink accelerationism beyond the squalid drive of accelerating capitalist contradiction. Nick Srnicek and Alex Williams, who co-authored the widely circulated Accelerationist Manifesto, have clearly articulated this view, rejecting Land’s singularity but endorsing the use of capitalist quantification techniques, engineering, infrastructure, persuasive models, and advanced computational affordances to accelerate the modern left. Whereas leftist thought has sought to question, undermine or even reverse modernity, Srnicek and Williams suggest that radical thought must accelerate the mediums of capitalist production into a post capitalist future. They proudly assert that “if the political left is to have a future it must be one in which it maximally embraces this suppressed accelerationist tendency.”
Against what Srnicek and Williams term “folk politics” (the title for their forthcoming publication) – defined as “localism, direct action, and relentless horizontalism” – an accelerationist politics preserves neoliberal infrastructure, but intends to push its affordances faster than neoliberalism would allow: in particular a basic universal income and the reduction of work (through automation). For them, folk politics has no big picture, nor any infrastructural plan beyond a ‘the party’ or a ‘horizontal network’: no method of effectivity or material advancement. In a separate article they condemn the conservative left for reducing themselves into “trafficking in the politics of fear, rather than the politics of freedom and the project for a more just society”.
Technology is to be used as method of “furthering leftist goals”, that is, building a material platform for a genuine post-capitalist societal framework. The emphasis is on accelerating modernity and progress, not accelerating contradictory speed (the latter evident in, say, high frequency trading), investing an understanding of post-capitalist infrastructure through new economic models and repurposed machinery. There is no wiggle-room here for Srnicek and Williams: either build a post-capitalist future or don’t. Either establish or experiment towards a broad ideological vision for accelerating the future or repeatedly fail. Failure, in their eyes, is not a thing of beauty, but a path towards an alternative future. Instead of leftist faith, Srnicek and Williams advocate alternative means of building an infrastructure of the future.
And there’s a lot here to agree for the most part. The left has instigated a lot of its own irrelevancy by ignoring or rejecting the often affective affordances of technology – rather than changing its use, or learning how to build a more just society. Yet, accelerationism’s major problem concerns itself with peddling a systematic theory to explain the practice of doing all the stuff the left failed to realise. What happens to the ordinary?
Within the accelerationist doctrine lies an old epistemological assumption that the problem with political thought is the rejection of progress, and the mastering of knowledge: that folk politics has suppressed knowledge and progress to its cost, whilst capitalism marched onwards and upwards, mostly upwards. All of this is partly accurate. Yet philosophically, accelerationism is more than these insightful remarks, and justifiable political demands. For Srnicek and Williams:
“The movement towards a surpassing of our current constraints must include more than simply a struggle for a more rational global society. We believe it must also include recovering the dreams which transfixed many from the middle of the Nineteenth Century until the dawn of the neoliberal era, of the quest of Homo Sapiens towards expansion beyond the limitations of the earth and our immediate bodily forms. These visions are today viewed as relics of a more innocent moment. Yet they both diagnose the staggering lack of imagination in our own time, and offer the promise of a future that is affectively invigorating, as well as intellectually energising.”
Accelerationism then, is not just a new doctrine for the left whom have failed to reignite the dream for a better future, endlessly squabbling over moralistic games of trumpery, but a renewed praxis (and only that) of enlightened self-knowledge. Accelerationism is a renewed humanism that seeks to re-master the world. As a “Right-Accelerationist” this is as much as Land wants, accelerating reactionary aristocracy past democratic values (Land’s so-called Dark Enlightenment). As “Left-Accelerationists, Srnicek and Williams declare that only a radical “maximal mastery” of renewed Enlightenment values will secure victory over capital, in an age where modern infrastructure is constituted by complexity and systemic automation.
“This mastery must be distinguished from that beloved of thinkers of the original Enlightenment. […] But this is not to align ourselves with the tired residue of postmodernity, decrying mastery as proto-fascistic or authority as innately illegitimate. Instead we propose that the problems besetting our planet and our species oblige us to refurbish mastery in a newly complex guise; whilst we cannot predict the precise result of our actions, we can determine probabilistically likely ranges of outcomes. What must be coupled to such complex systems analysis is a new form of action: improvisatory and capable of executing a design through a practice which works with the contingencies it discovers only in the course of its acting, in a politics of geosocial artistry and cunning rationality. A form of abductive experimentation that seeks the best means to act in a complex world.”
In this guise (as well as Land’s), accelerationism resumes the Enlightenment’s dictum of ‘dare to know’ – to pursue moral knowledge under the name of rational universalism, to which the ‘daring’ or ‘cunning’ part isn’t limited to empirically tracking or modelling post-capital infrastructures, nor of resuscitating the modern ethos (quite why Enlightenment thinkers are assumed to be beloved isn’t addressed, but hey ho). Instead, their task consists in expanding human rationality beyond its current epistemic state and limit, to test the critical faculties of human knowledge, and extend them without apologising, without any dint of skepticism. That it really could demonstrate the “best means” of acting in a post-industrial society. It aims to accelerate the human mastery of the concepts as well as the technical infrastructures to which it cohabits. The human ‘we’ must be self-constructed, such that – in their words – we “collectively come to grasp our world such that we might change it.”
Such a grasping or understanding wants to, at the bottom of everything, reduce or eliminate the ordinary. Thus capitalist infrastructure isn’t just an infrastructure but also a manifest limit of what it means to be familiar in a community: within that it must be universally unified into a rational community of self-knowledge. It is our concepts and rational freedom, our everyday experience which is to be extended, sustained, accelerated, even beyond the pale vagaries of our solar system. The ordinary is inherently set to be eliminated in accelerationism: and this becomes a problem.
By all means, accelerationism’s recent trajectory and increasing prominence (especially in Berlin) is a moving target, and so not all the arrows fired at it intend to halt that movement, nor what it might spawn. Our provocation towards, what I call ‘ordinaryism’ is less of a tactical move, not a hostile polemic, certainly not a threat, than it is a sympathetic twin operating alongside accelerationism’s endorsement of universal self-mastery. The philosophical fate of the human creature, tends to re-assert self-mastery from time to time, until it runs out of steam, or submits to itself that the best “science” undercuts its own majestic foundations, leading to critical revisions. Ordinaryism is not intended to trump accelerationism, than it is presented as an alternative to think about the ignorance of limitations within human finitude and of human creatures, which constitute the very presence of the ordinary. Ordinaryism doesn’t advocate a traditional ‘ordinary’, natural, ‘way of life’ against future mastery – nothing of the sort – rather, it seeks to expose the hidden wound of human mastery which becomes unavoidable.
Ordinaryism is presented as what might be left over once accelerationism has finished in avenging the limits of rational concepts (and the violence in doing so), such that the ordinary always returns, inherently unwelcome, but always ambiguous. That accelerationism will be beset by the mark of tragedy, finitude and disappointment: but in ordinaryism’s eyes, this is to be accepted and resettled. Of course accelerationism, by its own definition, cannot abide disappointment: manifestos are not the best means of articulating disappointments.
It is only after a state of affairs has been accelerated, that ordinaryism begins and works with the reconstruction or resettlement of the everyday, of what we already took for granted. Whilst accelerationism reimagines the future by eliminating the everyday, ordinaryism reimagines the entanglement of the everyday which weaves in and out of our collective grasp endlessly. We might indeed change the world, but in most cases, it feels like the ordinary changes us. Ordinaryism resembles and works through the difficult unsolvable left-overs of accelerationism, where it must be collectively reconstructed, rather than collectively mastered.
To prise open this debate further, we have to set up a philosophical/historical split that encompasses both world-views – namely, a set of philosophical attributes which partly make up accelerationism and ordinaryism’s similarities and tensions. All philosophical topics are quite good at this from time to time: historical figures count as manifest gaps, whom might inherit one particular zeitgeist, but whose differences from it continue to play out in subsequent world-views. The transcendent forms of Plato, vs. the individual forms of Aristotle: the determinate computational rationality of Leibniz vs. the determinate horizontal immanence of Spinoza: The scepticism of Kant’s concepts to never know the ‘thing in itself’ vs. Hegel’s absolute motions of the concept that can: Heidegger’s horizon of withdrawn Being vs. Wittgenstein’s later ‘forms of life.’
Without preaching to anachronism, the split between accelerationism and ordinaryism follows these gaps in various ways. The split discussed may be established within the predominant influence of two American analytic philosophers, who have had little recognition in continental philosophy and scarcely their political vicissitudes. They are Wilfrid Sellars and Stanley Cavell, and both of their contemporary philosophical systems are cited here for a number of reasons: both philosophers are prolific contemporaries, who from the 1950s, worked tirelessly after the rejection of logical positivism (Sellars in founding a materialist, nominalist inferentialism – Cavell as a second-generation ordinary language philosopher, writing after Wittgenstein and J. L Austin). Both are completely influenced by the foundations of Kant and the teachings of Wittgenstein, albeit different stages. Both jointly understand the human condition to be a product of the rules and standards of language, holistically used in a social community and both have dedicated their careers to moral and ethical questions that are produced from such insights. That’s about where the similarities end, important as they are.
More controversially, both thinkers have in some method or other, been cited as attempting to represent a bridge between analytic and continental philosophy, despite such a incessant institutional divide remaining. Clearly, to establish any such divide is prone to error, insofar as the term ‘continental’ – established by analytics – only pithily defined other thinkers who ‘don’t do what they do’. What’s interesting here, is the sense of the world-view to which such bridge-building is actioned.
The ‘continental’ use of Sellars is fairly recent, and has taken place conterminously with the rational analytic wing of (what is usually referred to as) speculative realism, most notably Ray Brassier’s recent work (despite him rejecting the movement entirely). Brassier himself, has sought to make Sellarsian epistemology central to the materialist future of continental philosophy, appealing to thinkers who seek to break away from an affirmation-vitalist induced metaphysics (Deleuze & Guattari), deconstructionist accounts (Derrida, Butler), or a post-Hegelian dialectical materialism (Žižek/Badiou).
What is pivotal for Brassier is that a Sellarsian legacy points towards a recoding of continental post-Hegelian framework set within an analytic project of scientific realism. This is where accelerationism finds its enlightened humanist teeth, even if it isn’t explicitly Sellarsian: an analytic-continental framework, which accurately establishes a set of arguments enlightening human conception (that we can scientifically speculate on what human rationality is) and to go to work putting these tools into pragmatic action, with the hope of extending our reign of knowledge. That in its scientific efficacy, both Sellars and the return to Hegel reflects one basic insight: that the special human affordance of ‘knowing’ must be identical with what it knows.
In his recent article The Labor of the InHuman: (parts [1] and [2]) Reza Negarestani has promoted similar accelerationist principles within a similar universalising project of humanism. Quoting Negarestani, Inhumanism establishes the same accelerationist dictum: which “stands in concrete opposition to any paradigm that seeks to degrade humanity either in the face of its finitude or against the backdrop of the great outdoors.” In any case, Sellarsian tropes are all over Negarestani’s and the accelerationist enterprise: such as how one justifies what one says in the “space of reasons”. How reasoning exists as a universal, meta-linguistic evolutionary natural function, which once grasped, eliminates the ambiguities of using it. Even Sellar’s students (notably Robert Brandom) have begun to reengage with the systematic potentials of Hegelian philosophy. All equally share an implicit rejection of romantic thought.
A Sellarsian future is unquestionably wrapped up in an accelerationism one, insofar as a) both distinguish what functions are essential to human rationality (inferential sapience), from biological functions (animal sentience), and then b) use such epistemic assurances to take account of discursive practices and establish moral actions. The Hegelian end-game, as it were, is to not only establish (with certainty) the laws of thought, but to show how the possibilities of the world’s laws (Being) and rational laws (appearance) are one and the same: that is, rationally accessible through enlightened reason. What is important to such insights are that the conditions of finitude cannot be attached to such accounts: i.e. Sellars’ account of what concepts are in a community (that is inferential semantics) have no bearing on what can or can’t be known by an individual. All intuitive ambiguity must be rooted out: such that ‘what I can deduce is what I know’ and that such ‘ought to dos’ are necessary yet speculative features of grasping the best moral actions.
Stanley Cavell however is immeasurably harder to pin down: not least because whilst recognised as a major analytic American philosopher, he has never been discussed with much, if any, resounding depth in continental circles, and remains substantially unknown to various audiences who would stand to benefit from his work. Cavell’s thought is thoroughly respected, maybe referred to, yes, but was historically disregarded once the analytic mission ‘to know everything’ through cognitive science resumed itself and sidelined ordinary language philosophy. Secondary literature on Cavell continues to grow however, particularly on studies of literature, film (literary studies in general), American studies, Shakespeare, animal studies, political philosophy and even pedagogy.
Yet, if there is one thinker who attempted to unite both analytic and continental world views since the 50s it is Cavell, only he tried it in reverse. Usually, the analytic way of treating continental texts is to de-romanticise them, by eking out or condemning what is purported to be rational arguments. Cavell went the other way, and sought to romanticise the analytic tradition by showing that it never had any absolute rational arguments in the first place. Thus, Cavell was emphasising ambiguity and the instability of language, independent of Saussure, Lacan, Habermas, even Derrida, and way before structuralist and poststructuralist texts arrived on our Anglophone shores in the 60s. Before Continental philosophy ever thought Žižek (or perhaps Baudry before him) was radical in combining philosophical insight into American cinema, Cavell caused disconcerting ripples in analytic circles when he starting doing it in the late 60s, and arguably did it better.
More significantly Cavell’s style of writing, like his thought and world-view, screams prose which is most un-analytic: ambiguity. His work does not fit into any noticeable philosophical idiom. Largely auto-biographical, entirely playful, but never simple – his insights are analytically complex, but written with an attitude much akin to the continental tradition: which is to say, staggeringly allusive yet direct. This, of course, matches Cavell’s heroes, whose prose preys upon and exudes ambiguity: namely the giants of Emerson and Wittgenstein. No wonder Cavell often expresses little interest in meaning anything bar “the accuracy of wording an intuition”. (In Quest of the Ordinary: 53). From here on in, unless otherwise stated, all citations are from In Quest of the Ordinary.
If Sellars is compelling for accelerationists because of his rigorous, technical accounts of what abstract concepts are in a scientific realism, Cavell is compelling because he presents an alternative difficulty: one that proceeds from not knowing: or a willingness to forgo it. There is no technically demanding jargon in Cavell: and barely a consistent systematic technique. He constructs arguments through atmosphere and intuitive lines of enquiry. Sentences which hold moments of stillness, generating an idea and then ending abruptly, but following on through wispy moments of insight, much like a musical score (Cavell began his career as a musical prodigy). His general register freely embraces philosophical insights with auto-biographical notes (philosophy just is autobiographical for Cavell), abstract deductions with concrete experiments, literary ideas with film experiences, Shakespearian tragedy with jazz overtones.
But Sellars and Cavell’s differences are exemplified not just by style, but also by the content and reception of their philosophical outlook. Reception wise: Sellars technical prose, which borders on being life-threateningly dull, provides the kind of challenge which the muscular philosophers among us feel the need to measure up to and surpass, like a scientific research grant or an unsolved mathematical problem. Ineffably technical to the end, Sellars excels in the matter of deductively writing in a certain way, to get out the theorems one is looking for. That reason, and reason only, is the true method of grasping things. To read Sellars then, is to know what one wants (to resolve the gap between oneself and one’s world) and to expect a result at the end of it: an account that answers the thorny issue of explaining, accounting or defining the ordinary within the “scientific image” and proceeding from there.
Cavell, unsurprisingly, establishes the complete opposite: the reader has no quick response, no general method of opposition to his ideas. There isn’t meant to be one. This is a philosopher, who takes pride in admitting that he tried to make Thoreau’s Walden more difficult, not on the adoption of jargon, but on the basis of how it educates problems in philosophy. Philosophy for Cavell, never makes any genuine progress, so neither should his writings. Philosophy will never be able to model itself successfully on the sciences, as it never thrives on deductive answers. Philosophy does not command a privileged relationship to reality, as it thinks science does or science thinks of itself: only the knowledge of science would purport the demolition of the ordinary, to which it’s own practice depends on. Accelerationism, likes other disciplines renders matters as supreme to themselves, such that the ordinary, monotonous means of how they got there are lost: their complexity squandered into an easy simple vision (its no surprise that Cavell was a close friend of Thomas Kuhn at UC Berkeley, and amongst other influential affinities, introduced him to Wittgenstein).
The Cavellian method actively incites disturbances and tensions in the reader, but ones that cannot be assimilated into one easy position or framework, where an effective solution is baldly asserted. Reading Cavell is akin to finding one’s own voice, in the midst of accompanying Cavell’s own. This is an important quality. And so, both Sellars and Cavell differ immeasurably in their accounts of what can be rationally asserted as real, and how the possibilities for how human language can be used. In fact, its not so much a differing account, but a diametric opposition.
Cavell’s relationship to what I’m calling ordinaryism, matches Sellars relationship to accelerationism in one formal sense: a collection of world-view tools set to work on two separate problems occurring in post-Kantian philosophy. For Sellars, the aim of philosophy from Kant onwards is to blatantly ‘solve’ Kant’s transcendentalism, insofar as philosophising operates as a “stereoscopic fusion” accounting for one privileged insight of knowing how one’s concepts work and how one functions. As Cavell puts it, “the aim of reason [is] to know, objectively, without stint; to penetrate reality itself.” [The Claim of Reason, 431]
In this regard, Cavell’s approach to language and humanity, is presented as a legitimate alternative to the latter: namely that the ordinary is a worthwhile avenue for philosophy and political change, not to eliminated out of existence: to be looked for and lived in, but not to be known. What does it mean to abide with reality? Is that even enough? This is the question of the ordinary.
To that effect, the entire epistemological role of the human creature changes (Cavell prefers ‘human creature’ to subject or rational agents): for Sellars and the accelerationist world-view, the human creature’s basis in the world must self-master its own conceptual possibilities for freedom, like a cognitive open-source self. For Cavell and the ordinaryist world-view, the ordinary human creature’s basis in the world, takes interest in its skeptical limits. In Cavell’s words, “the human creature’s basis in the world as a whole, its relation to the world as such, is not that of knowing, anyway not what we think of as knowing.” (The Claim of Reason: 241) That the skeptical limitations of knowledge are not failures of it, but an attempt to bargain with the things-in-themselves.
I emphasise this contrast between Sellars and Cavell, mainly to bring about an old Cavellian insight as to why accelerationism originates in the form that it does, and why it does.
This issue is present in Cavell’s understanding of modern skepticism: the deceptive fraudulence of what one experiences, the feeling of distrust to that which becomes given. Cavell’s innovative treatment of scepticism is never given its dues: perhaps as the broader interpretation of recent theory in the midst of ecological catastrophe, technological infrastructure and global networks, has done away with concentrating on such banal philosophical problems. When the environment is disintegrating and a just world seems more unlikely, old problems of wondering whether ‘we’re dreaming’ or not, seem less and less justifiable.
Fair enough: but this is not Cavell’s insight into skepticism. Skepticism for Cavell is less a rigorous method or intellectual exercise than it is a relation to the world that establishes itself within living in the everyday. “My idea”, as Cavell writes in In Quest of the Ordinary, “is that what in philosophy is known as skepticism is a relation to the world, and to others, and to myself, and to language, that is known to what you might call literature.” (155) Skepticism, following Wittgenstein and Heidegger, is not about whether one refutes knowing anything outright, but a mark or basic feature of finitude that constitutes human existence. It is not the case that skepticism is true, (i.e. relativism) but of re-emphasising the irrefutability of truth within skepticism. In his words, written elsewhere, the problem of skepticism does “not consist in denying the conclusion of skepticism but in reconceiving its truth” [The Senses of Walden, 133].
The legitimacy of scepticism reminds us of the contingency of criteria that a society possesses of itself. We can never be absolutely certain of ourselves and our relation to the world, nor of our words, nor of securing what they mean. To understand what we mean by a moral utterance, or command is to already bring the ambiguity of the world to such utterances, and any attempt to narrow such definitions, of making them explicit, or grounded in certainty, is utterly doomed. Language does not await precise explicit, functional use, but is unintentionally bubbling through us within contingent slips, mistakes and failures. What we mean, must forever stay implicit if we are to communicate at all.
Cavell’s target of course were the logical positivists, who did aspire to such certainty. Cavell reinterpreted their philosophy thus: instead of actually knowing a truth, or claiming some cast-iron logical proposition which brings human knowledge closer to reality, the logical positivists distanced themselves from the ambiguity of the ordinary even further. The logical positivists evacuated the ordinary, attempting to fill it with an artificial, scientific theoretical language of functional certainty, whereupon deductive answers, much like scientific theories would emerge, hard won and settled as fact. Cavell allied himself as an American interpreter of Oxford’s ordinary language philosophy (particularly J. L. Austin’ work), a new technique of undermining logical semantic certainty by emphasising how a certain word or game is used within a society, as established in Wittgenstein’s Philosophical Investigations.
Yet Cavell went further and deeper than other ordinary language philosophers by aligning their insights towards a renewed focus on post-Kantian scepticism (in the same historical manner Sellars achieved with his own philosophy) – on how one lives, or how a society functions despite these irrevocable conditions of finitude. No doubt of course that fundamental to the human condition is to know: to make the world more present, to solve skepticism. This is what Kant ultimately achieved: to bargain with skepticism and establish a conceptual stability founded on epistemological mastery, which Sellars thinks he has extended and accelerationism follows in equal measure.
But such stability comes at a price. The bargaining of building Kant’s transcendental a priori synthetic knowledge, assures us that the thing-in-itself exists, yet we are forced to give up true knowledge of it. At the cost of preventing human thought from lapsing into crippling doubt, Kant prevents us from gaining knowledge about the world we know exists beyond us. In short, Cavell argues that Kant gave up intimacy with the things in themselves in order to establish conceptual certainty. “You don’t – do you?” Cavell laments, “have to be a romantic to feel sometimes about that settlement: Thanks for nothing.” (31)
Cavell’s interpretation of logical positivism followed this line of diagnosis: the human creature performs a certain kind of violent satisfaction in response to the discovery of its limitations, where our relation to the world is contested. And its this sense of anti-romantic satisfaction which accelerationism excels at: not stopping at self-mastery, but of suspending illusions, and building a platform for Promethean expansion. Its own form of bargaining with human mastery and planning for a more ‘just’ world, may appear effective, but still carries with it all the same Kantian bargaining tools of a settlement which it has little hope of fully mastering. That’s the trouble with bargaining with the noumenon: the other party (the things in themselves) might deceive and hoodwink the terms of agreement.
Caught in the bind of disappointment with the world, and of being a disappointed species because of it: we are a set of creatures who are continually ordinary. Accelerationism appears less a system of bargaining, than a wish fulfilment. One that accelerates Kant’s bargain into some unknown techno-future, on a foolhardy whim that rationality is somehow more significant than everything else, or rather, such mastering will always get on the best side of the agreement. A revenge against the romantic that dared to suggest something else.
Ordinaryism offers no such remedies, and any appeals to such expansions are fragile, fraught with tragedy or crafting goals out of the banal facets of the ordinary. Bargaining with skepticism, is in Cavell’s eyes, simply a redirection of its difficulty. In his preface to Must We Mean What We Say? he presses his finger on this salient point:
“The idea that there is no absolute escape from (the threat of) illusions and the desires constructed from them says there is no therapy for this, in the sense of a cure for it … [that] was evidently something that captured my fascination halfway through Must We Mean What We Say? with Samuel Beckett’s Endgame––in effect a study of the circumstances that, “You’re on Earth, there is no cure for that.” [Must We Mean What We Say, 129]
Au contraire, demands accelerationism, we have the moral cure! But to know it, you’re going to have to sacrifice the ordinary, and why not? As Cavell notes, the enlightenment’s conscience is likely to herald Kant’s achievement intact: the Sellarsian response may feel, yes Kant, “thanks for everything.” (53) However, in The Claim of Reason, Cavell utterly dismantled philosophy’s quest for the foundations of moral obligation, by showing that it too had bargained with Kant’s foundations for knowledge: that somehow, the dream, as is accelerationism’s dream, to fully render some natural method of grasping a common world to which everyone ‘reasons’ in a space. That reason: inferential reason, is supposedly enough of a confrontation to be, quoting Cavell, “sufficiently powerful [that] it must work on people at random, like a ray.” [The Claim of Reason, 326]
But the ordinary doesn’t exist as an implicit fallacy to be eliminated away by the confrontations of ‘science’. Instead it operates as a romantic supplement to monitor the stability of accelerationism’s settlement: both of satisfaction and dissatisfaction. There is then, a new profound sense of ‘thanks for nothing’ in accelerationism: one that is a measure of dissatisfaction with Romantic attitudes and of their current instability, under attack from speculative realism (of what Meillassoux terms correlationism), amongst other positions. Ordinaryism will argue that this measure of satisfaction with Kant’s settlement is a measure of its stability, one that has persisted to this day: and speculative realism is nothing if not a movement that has become entirely dissatisfied with it. In other words, acceptance of this settlement heralds the conflict of a different version, upgrade, or application of skepticism. A different bargaining.
Romanticism’s answer was to fully justify the existence of the world outside thought, and that the act of enlightenment’s self-mastery had itself lost nature, or even tried to kill it off. For the Romantics (Cavell being one) the task set before them, proceeds in how we can recover, or cure the world from the violence of this Kantian settlement. But this, as Cavell fully admits is also another bargaining, set up from scepticism itself. The first generation’s response to this Kantian settlement was romantic animism, another ‘thanks for nothing’ type of bargaining: that the world lives and dies, as if it were another being (55-56).
Cavell’s own response is to return to the ordinary, as per his interpretation of Wittgenstein. The return to the everyday and ordinary things, which must now bargain with scepticism, and not successfully. That is, “the drift toward skepticism as the discovery of the everyday, a discovery of exactly what it is that skepticism would deny … the impulse to take thought about our lives inherently seeks to deny” (170-71) The way that ordinary language is expressed, or, pushing Cavell further, how ordinary things are used is the challenge of acceptance – with the emphasis placed on challenge rather than acceptance. The issue becomes one of paring knowledge as one fragment of the ordinary, together with Cavell’s suggestion that:
“the existence of the world . . . is not a matter to be known, but one to be acknowledged. And now what emerges is that what is to be acknowledged is this existence as separate from me, as if gone from me. . . . the world must be regained every day, in repetition, regained as gone.” [172]
But to take this further, ordinaryism – and its romantic slant – now has to orient towards a different bargaining strategy, as accelerationism chooses to do. Accelerationism takes Sellarsian tropes and moves them further than Sellars ever realistically envisaged. Its form of bargaining enlists that which is most contemporary: science, computation and quantifiable knowledge. Accelerationism brings forth its ray-like vision, onto the realm of automated systems, extended science and machines. It is the site where rational progress becomes constitutive of a deterministic machine, following rules to an-already decided, method of reason, unanswerable to anything other than more reasons of settlement.
For ordinaryism, language is out of date and out of time. Ordinaryism must keep up with such developments, but not under the banner of progress or knowledge. Instead ordinaryism understands the ordinary within the entangled ecologies of media and machine: of that which we took, and still take for granted. Of what became radically altered once the ordinary mysteriously entered the realms of automation.
Cavell notes that the ordinary changed significantly after the abstraction of logical positivism: ordinary language looked uncanny after it, as if analytic philosophers were discovering for the first time how language, through little reason of its own, operates within the lost meadows of un-graspedness. Just as accelerationism enlists technology for its own sceptical bargaining, ordinaryism enlists the affordances of technology too – how we live in an ecology where such everyday automatedness is continually un-grasped. We must realign, as Cavell does, overlapping regions, “not in [the] deflections of skepticism but in … respect for it, as for a worthy other; I think of it as [a] recognition not of the uncertainty of failure of our knowledge but of our disappointment with its success.” [Emerson’s Transcendental Etudes: 118].
To this end, ordinaryism’s uncanniness must be taken up in automated systems and computational networks, but these appear not as extensions of knowledge, but as separate, wider fields of acknowledgment, to which knowledge is one fragment: not the defining mechanism. That complex systems produced from us within the ordinary, solidify dissappointments with reason’s success: of its extension and operation. And the opportunity to regain the ordinary still stands, but in the time of machines, and systems executing beyond ones finite knowledge: an ecological pluralism of finitude awaits those who wish to bargain anew: of our finitude and theirs.
Ordinaryism’s new dissatisfaction with scepticism specifies nothing more than to inject a romantic slant back into the heart of the machine.
————————
With sincere thanks to Paul Ennis who read through an earlier draft.
Eva Kekou met Tobias Rosenberger at the international e-MobiLArt workshop which took place in Athens, Vienna and Rovaniemi, in turn these led to a number of exhibitions and successful collaborations between artists and theorists. She now invites him to discuss his work, issues of surveillance and how a young European artist views the situation in China and what he expects from his interaction with the Chinese art scene.
Tobias Rosenberger (b. 1980) is a German media artist who works at the crossroads of media art, visual arts, and performance. He has produced art works in Yemen, Spain, Mexico, India, and Ukraine etc. Since 2011 he has been based in China, where he teaches at the College of New Media Art, Shanghai Institute of Visual Art.
“Nowadays, anyone who wants to combat lies and ignorance and to write the truth must overcome at least five difficulties. He must have the courage to write the truth when it is suppressed everywhere; the wisdom to recognize it, although it is concealed everywhere; the skill to use it as a weapon; the judgment to choose those in whose hands it will be effective; and the cunning to spread the truth among such people.” (Bertolt Brecht)
Eva Kekou: I would like to start this interview with this quote which seems to be significant for your work and in particular the recent one – the secret race film and discussion at Goethe Institut Washington. As you well state in your event invite: “It was pure coincidence that for a few days in the summer of 2013, two unrelated events simultaneously dominated the major headlines in the German press: the monitoring and spying scandal of 2013, triggered by Edward Snowden’s leaks of National Security Agency top-secret classified documents, and the official acknowledgement of the prevalence of doping in competitive sports, best symbolized by Lance Armstrong’s televised confession.” What is the significance of surveillance in a globalized social and political context and where is the place of art within it? There are obvious reasons you decided to launch this in Washington through Goethe but I would like you to comment on this.
Tobias Rosenberger: Surveillance and espionage are as old as civilization. Power was always constructed, maintained, and expanded through monitoring, categorising, repressing, and excluding people. We all know that the digital apparatus opens a new world of possibilities to organize, quantify and control life and society in a before unknown scale, speed and efficiency. While I agree that we need early warning models to anticipate and fight cruelty and injustice whenever possible, I don’t believe that we can draw a sharp border between an evil surveillance that fuels unfair and inhuman systems and a necessary one that pretends to save dignity and a lawful order. The challenges of our time can no longer be met by elitism and secretiveness, but require the joint efforts from the middle of society. An independent art that rejects the simple desire for (self-)confirmation does not only open a non-biased discursive space for critical reflection, but it also has the potential to demask and break the mechanisms of power, as long as it takes its audience seriously. But to be able to do so, art also has to find its audience.
EK: It occurs to me that place and space play a very important role in your work and inspiration. How do these relate with each other with pieces of your work in a globalized and mobile network underlined by politics?
TR: I have a very pragmatic approach to what I am trying to do: Not following a specific agenda and always staying as curious and open as possible. This requires both a certain naivety and an observing attitude. I never start an artistic process with a specific idea or question, but i get attracted by places and spaces that i try to discover without too much of my personal baggage. But since space and place are never abstract but segmented by politics both on macro and micro layers, the resulting works often deal with political questions.
EK: How did you become interested in China and what do you find fascinating or difficult working there? Is it interesting for you as a European?
TR: I have a very special relationship to China. With my Chinese wife I decided three years ago to move there and to found a family. I was always fascinated by China as a cultural space, with a tradition of art and philosophy at least as long as in Europe. I also really like the food and the people there. As a foreigner I experience it as very fruitful to see things from a specific distance, both if I try to understand the culture, but also especially if I look back from there to where I come from. It is very interesting to observe the relation between art and politics, how the government here really appreciates art and how it is also afraid of it.
How artists, critics and curators fight for free space, a career, or both. In Shanghai you have both the global economy and the local life at your house-door. The country faces a lot of problems, and very often one can get the impression that things are not happening at all just because there is a small possibility that something unexpected could happen. So many people behave very pro-actively in a way that they won’t run into any problems themselves. But this maxim “to have everything running smooth” you certainly don’t only encounter in China.
EK: Referring to some of your recent works (installation and performance): Choose any you like… How do you reach out to audiences and what is the main aim in your own work?
TR: “The First Twenty Years” is an installation that was shown in two different versions at the end of 2012 in Kiev and Dnipropetrovsk. I developed the basic idea for that work in 2011, when I was invited to spend some time in a small Ukrainian village near Kiev at a private artist residency programme. During that time the nation celebrated the 20th anniversary of its independence. There was a strange, partly paralyzed mood. But I also witnessed very controversial discussions with artists, curators and critics, and a new generation that seemed not anymore willing to accept living in a nation that was more and more perceived as a prison. So when I was approached during that time to do a work based on my experiences in the Ukraine, I decided to base it on Xavier de Maistres “Journey around my room” and Schuberts Music, which was inspired by a poem by Christian Friedrich Daniel Schubart.
I didn’t intent to comment directly on the situation there, but rather was trying to understand for myself what was happening. For me, art is not about expression but about the creation of a space where everybody is invited to take a bit of distance so to be able discover something from different perspectives and to think in his/her own way.
Surveillance Cameras dancing to Schubert, on Vimeo
EK: Can you give us a bit more information about a project that you have described alsewhere in the following way: “Right now working on a light sculpture for permanent setup in a former WWII Top secret military site, where some crazy NS-Germany scientist wanted to invent an x-ray wonder-weapon to shoot planes and soldiers, this involves an always transforming multichannel-sound installation, motorized miniatures (arduino-controlled), 2 projectors and led-objects. I will make an extra independent video of this work, filmed with multiple moving surveillance cams.”?
TR: I was approached by a cultural initiative that runs today a small history museum in a former research bunker, which was secretly constructed in 1942 / 1943 underneath a camouflage building. I came across a letter in which a certain Professor, Dr. Ernst Schiebold, proposed “An additional weapon to fight and eliminate the crews of hostile airplanes and ground troops in the defensive via x-ray and electron radiation”.
A weird ten pages male war fantasy about a new kind of tubular x-ray canon, written in a crude mixture of physical pseudo-science, soft patriotic enthusiasm and German pedantism. Schiebold really got his bunker built to start with his research. Everything was kept top secret, but stopped 18 months later without results. I decided to bring Schiebold’s proposal back into the space which only existed because of it: As a pure proposal, enhanced and communicated with new media technology.
A lot of the tools that we are using as new media artists exist mainly through military development. So my intention was also to give something back. The audience will listen to single sentences that are randomly taken out of Schiebold’s letter and re-arranged into a constantly transforming synthetic sound atmosphere, which is synchronized with light beams crossing a motorized miniature military model. The toy miniatures cast shadows of moving soldiers and airplanes onto the walls. LED lights are flashing out of a tubular manhole, which was originally constructed to be used with a Betatron. All the technology that I use is quite low-budget and geeky. Last week I started to install the parts on site, and I have to admit that it is also a very weird experience for me to spend nights working alone in a former military research bunker, climbing down in a manhole and setting up the mockup of a “super-weapon” people researched in the darkest years of German history. Sure I will also try to document it properly.
EK: Do you think art can be global and political, if not, what are the main restrictions we are all subjected to? How can art and artists make a difference in this respect?
TR: I think that art is per se political, since it deals with and also influences our perception of reality. And while all our lives are clearly connected in a global economy of good and information-exchange, art does also always operate on a global scale. As an artist I believe that it is worth to be curious and to investigate the (media) apparatuses and dispositifs that surround us, to take them apart and re-design them. What are they good for, what effects do they cause? While the world is getting closer, the world is never the same – people have different histories, problems, possibilities and hopes. As Europeans we take many things for granted, that other people see differently – or vice versa. I think artists can always make a difference, as long as they stay independent and continue to tackle serious questions, but don’t take themselves too seriously while doing so. We should laugh more together.
EK: What are your future aims and plans?
TR: I am looking forward to the new semester in Shanghai, where I will mentor the graduate works of eight students. I will also collaborate with Chinese artist Mujin (Lixin Bao) – a fellow teacher at the Shanghai Institute of Visual Art – on a series of works exploring the notion of the “Chinese Dream” and its perception both nationally and globally. I guess this dialogue will become quite interesting.
Bitcoin is the leading cryptographic digital currency. Created in 2009 by the now possibly unmasked hacker Satoshi Nakamoto, it polarizes opinion. Some people promote it as the technical embodiment of a libertarian attack on the iniquity of “fiat currency” and the power of the state and big banks, an embodiment of a pure market of value untainted by regulation where everything really is worth only what people will pay for it. Others criticise Bitcoin, often savagely, for the same reasons and for what they perceive as its technical and social failings. But Bitcoin is interesting in ways that go beyond the concerns of its most vocal proponents and detractors.
Rather than paper money backed by gold or electronic money held on a bank’s central mainframe, Bitcoin exists as records of transactions in a public record called the blockchain, which is added to and authenticated by computers on the Internet running the Bitcoin software. Transactions in Bitcoin use cryptographic signatures rather than names or emails as the identities of the sender and receiver. Computers on the network that process and validate groups (or “blocks”) of transactions are asserting the existence of particular pieces of data at the time they are validated, a process rewarded by the production of new Bitcoins. To discourage malicious or false validations, each mining computer must perform a computationally and therefore resource expensive task known as a “proof of work”, which can be checked and confirmed by other computers on the network.
All of this means that Bitcoin is a massively distributed system for asserting identity, existence, and truth, for values of those concepts that are outsourced to a community of mathematical proxies. The blockchain is essentially a time-stamped record of information that anyone can add to in order to prove that a particular piece of data existed at a particular time. This has applications beyond finance, with examples of new systems for blogging, contracts, corporations and Internet Domain Name services all being based on the block chain system. In many ways it is the blockchain and these applications of it that is the most exciting part of Bitcoin.
Money, cryptography (the making and breaking of codes) and alternative currencies all have long and often intertwined histories. Renaissance banks used secret codes to secure messages sent between city-states. Alternative savings or currency systems such as Green Shield Stamps, LETS or Air Miles were all popular at different times in the Twentieth Century. The first cryptographic digital currency was Digicash, from 1990. And Bitcoin isn’t the first multimillion dollar electronic currency. Linden Dollars, the virtual currency used in the Second Life online virtual reality environment, were used in USD567,000,000 of economic activity in 2009. Bitcoin solved the problems that prevented previous digital currencies from becoming decentralised, and although newer digital currencies have improved on its design it is Bitcoin that has captured people’s imagination.
Bitcoin has encouraged a debate about what money is, what money is for, and how money should work, indeed its production, use, and successors have embodied that debate. It’s created a sense of possibility and a range of production comparable to the early World Wide Web. And it’s launched parodies such as the Buttcoin site and the meme-based cryptocurrency DogeCoin, and the epithet “Dunning-Krugerands”. Bitcoin’s mining system rewards existing capital, and its transaction costs reward intermediaries in much the same way as existing banks and credit cards. But these are implementation details, and newer cryptocurrencies and national cryptocurrencies address them. Post financial crisis, cryptocurrency with all its possibilities and contradictions is a lightning rod for the social imagination. And this includes art.
Coinfest 2014 in Vancouver featured examples of artists using Bitcoin. Buskers performing at the event could be tipped in Bitcoins, graffitti and mixed-media art being exhibited could be bought with Bitcoins. And in the computer lab at the venue each desktop PC displayed a piece of net art with a Bitcoin theme. This was the show “Computers and Capital”, curated by Erik H Rzepka and Wesley Yuen, also viewable online at http://x-o-x-o-x.com/press/computersandcapital/. It includes art depicting bitcoins, art visualizing wealth in terms of bitcoins, and work that evokes the operation of Bitcoin-like cryptocurrency.
thereisaprobleminaustralia’s “Bitcoin Garden” is an html5 alife pond populated by shoals of rippled and faded Bitcoin logos. It’s reminiscent of 90s Director alife, and might benefit from more of that algorithmicity. But as a post-internet tumblr assemblage it’s irresistibly calming and ironic. Bitcoin’s promise of a financial artificial paradise rendered organic, or hydraulic models of the economy leaking into the network.
Jon Cates’s “817C01N” is a stark monochrome Floyd–Steinberg dither (an algorithm used on early Macintosh computers to convert colour or greyscale images to binary) animation of a broken iPhone spinning in front of a glitching animation “bitcrushed” from Manuel Fernandez’s “Broken Phone Gradients”. Networked art for a networked currency, it’s a clean, minimalist look afforded by a historical best-of-breed algorithm, an aesthetically and conceptually satisfying digital classicism. And it’s for sale in exchange for Bitcoins.
Ellectra Radikal’s “E.Rad Coin” is a Vasarely-meets-Twister undulating grid of distorted and colour gradient coin shapes. It’s the aesthetic equivalent of Bitcoin’s ethics: the market economic view of society as Conway’s Life with pennies given a post-digital twist.
FELT’s “Bitcoin Digibank Visualization” is a financial hyperspace of cubes showing the value of the world’s rich quantified in Bitcoins floating in an endless whiteness. This shows both Bitcoin’s status as a separate economic plane and the ability of existing capital to colonize any resource-based attempt to escape its reach.
Giselle Zatonyl’s “Pop Coinfalls” is a video loop of analogue noise and digital compression glitched falling and stacking coins with a PowerPoint-hell upward graph line animated over them. Blink and you’ll miss it but there are faces on or reflected in the gold of the (Bit)coins as they pile up ever higher. The economy is like that.
Matt Tecson’s “lel buttcoin” is a tumblr blog zoom (an impressive subversion of the vertical scroll bar) of found imagery mostly on the theme of “buttcoins”, a common pejorative for Bitcoins. Coiyes, Bartcoins, and Radeon graphics cards intrude, presumably as they matched the search used to find buttcoin images.
Roger Grandlapin’s “Danaë” is a Flash animation of Bitcoins dripping like honey over animated negative-space text, a porny neoclassical nude of the title and other imagery that I’m not fast enough to make out. Bitcoin’s origin story is related to those of older mythology as a shower of golden rain from Satoshi Nakamoto.
Kutay Cengil’s “Untitled” is a slightly glitched, default material rendered bust of a webcam-foreheaded, PayPal security-badged, melting financial mandarin. This is what Bitcoin is here to save us from, although in a recent interview the CEO of PayPal had more faith in Boitcoin than in NFC.
Systaime’s “Bitcoin Abundance” is a highly compressed YouTube video loop of the dross of 90s PC video clips surrounding a rain of bitcoins. It’s the opposite of Jon Cates’ piece. Visual Vaporwave, the kind of transubstantiation of kitsch that art is meant to do. It’s a formally rich composition, amusing and affecting. But even when I remove my cybercultural and net art historical horses from this race I’m left with the problem that it’s not clear how this aesthetic can fail.
Devon Hatto’s “letsnetworth” is another tumblr, this time of animated GIFs of compositions of that symbol of knowledge (and fashionable digital design), the apple. Digitisation, sustenance and symbolism combine here much as they do in Bitcoin. The net wealth of wealth on the net.
Adam Braffman’s “$$ULOGY” is a YouTube video of Dogecoins (the inflationary, Meme-mascoted rival to Bitcoins), Super Mario Bros gameplay, burning dollars and other found video imagery, with a brief visit from MST3K and a cheesy industrial and soft rock soundtrack interleaved with an echoing apocalyptic economic lecture. Its an impressionistic take on cryptocurrency and the environment in which it exists.
Nicolas Koroloff’s “Green Impact” is an image of a pile of Eurocent coins with a single transparent green bead or BB pellet in the middle. This is a reference to Bitcoin’s of-touted environmental impact due to the electricity expended in mining. The comparison between this energy footprint and that of fiat currency ATMs, chip and pin readers, and other elements of the global banking system probably compares to the relationship depicted here.
Dominik Podsiadly’s “I’ll eat any amount of EU subsidies” is a video performance of the artist smoking, drinking, and doing just that with some large edible 500 Euro notes. The Euro is a political instrument as much as a financial one, and its crisis has been another factor driving interest in alternative currencies, including Bitcoin.
Chimerik’s “Chimerikcoin” is a packed square graph puzzle that rearranges itself to fit as you drag rectangular fragments of an old gold coin around to reveal brief peaks of paper money. It’s the economy as a zero-sum game and Bitcoin as a digital return to the gold standard.
Miyö Van Stenis’s “Bitcoin Dreams” is an interactive html5 animation of settling Bitcoins in front of a cloudy sky and animated curtain. It’s an unusual and effective combination of tightly looped animation and interaction with a vaporwave aesthetic.
ASS Rain’s “Trees” is a collage of translucent green blocks dropped spillikins-style. I found it aesthetically and conceptually opaque, although a very effective composition.
Robert B. Lisek’s “Quantum Enigma” uses a geiger counter to generate an encryption key for communication, ironically realising the promise of quantum crytography. It’s a historically and technically literate project that communicates a strong political stance while remaining technically and aesthetically interesting.
The ability to curate such a show online and present it as part of a wider cultural event marks a moment where the widespread availability of Internet access, Web 2.0 publication platforms, and computer labs at event and community spaces has transformed the possibilities for curating and contextualising digital art. “Computers and Capital” exploits these affordances very effectively. The recurrent themes, of pennies from heaven, ironic digital kitsch, glitchy compression artefacts, and potlatch, feel both appropriate and effective in visually communicating and critiquing the technical and social complexities of cryptocurrency in the age of austerity.
Bitcoin has caught the attention of the public, government, criminals, and artists. It is both an expression of the economic imaginary and a genuinely novel means of networked communication. This makes an unusual subject for art, whether celebratory or critical. Even the most ironic celebrations of Bitcoin in art are depictions of a network protocol, or a deflationary electronic currency. Whether visually and conceptually preparing us for a brave new world of cryptocurrencies or creating the illusory realm in which they will achieve their only lasting victory, Bitcoin art is very different from a Warhol dollar sign, a Hirst diamond skull, or the other symbolic band-aids for the ideological aporia of capital’s hollow victory. It is the art of a heresy rather than a hegemony, of a moment of technological, social and aesthetic possibility.
“Computers and Capital” very successfully captures this moment in art and makes it accessible in ways that thousands of words on the subject cannot. A thought-provoking, illuminating and often fun collection of work of a uniformly high standard that is nonetheless technically and aesthetically diverse can be presented online and off as part of a wider cultural event. “Computers and Capital” shows how network-enabled digital art can function as a bridge between complex and important ideas and the public imagination.
The text of this review is licenced under the Creative Commons BY-SA 4.0 Licence.
On 29 March it’s going to be Arduino Day 2014!
Furtherfield and Codasign will be hosting a day full of free activities at Furtherfield Commons in Finsbury Park. We would like to invite anyone interested in physical computing – people from all ages and all levels of expertise – to come and spend the day with us.
The day will consist of a series of FREE Arduino taster workshops for absolute beginners in the morning and a showcase of interesting interactive Arduino projects by artists, techies and enthusiasts in the afternoon. To participate in the workshops or to show your work, please see details below.
WORKSHOPS
10:00 – 11:00 Intro workshop for children (9-12 years old)
11:30 – 12:30 Intro workshop for young people (13-18 years old)
13:00 – 14:00 Intro workshop for adults
14.30 – 17:00 SHOWCASE
The workshops with give you a taster of how to work with Arduino, teaching you how to write your very first ‘sketch’ as well as how to build circuits on breadboards. We will work with components such as LEDs, potentiometers, Piezos and more! For the kids workshop we’ll combine Arduino with Scratch to show children how these two platforms can communicate with each other. For the workshops for young people and adults we will purely be using the Arduino environment, but will also be demonstrating how you can use it on your Raspberry Pi! All workshops are FREE. For more details about the workshops and how to sign up, please visit the Codasign webpage.
If you have an Arduino project you would like to show and discuss, we would like to invite you to participate in our Arduino Showcase. This is an opportunity to share your work and hear about what others are doing, to meet people, to be inspired, and, mainly, to have a good time. If this sounds like something you would like to do, please fill in this form. We aim for this to be a friendly and informal event, where visitors can wander around, get ideas, ask questions and play with the projects being showcased. We will provide power, Internet, and a table, and of course, there will be drinks.
If you have any questions or would like to discuss any details with us, please get in touch with Olga, olga@furtherfield.org.
Furtherfield Commons
Finsbury Park
Near Finsbury Gate On Seven Sisters Road
E: info@furtherfield.org
Furtherfield Gallery is supported by Haringey Council and Arts Council England.
‘RE / PRE / SENT / PAST’, an exhibition featuring works by media artist Markus Soukup as part of Furtherfield Clear Spots programme, explores different phenomena from dreamscapes to long distance travel recordings, as well as attempted considerations of societal change in relation to technological developments.
It brings together fragments of subjective experiences related to contemporary everyday existence, which were translated and transformed into ‘perceivable outputs’ by using different digital techniques. The screen or the physical object as output constitutes an interface, where perceptual experiences of the spectator intermix with the intentions of expression.
The wonders of perception are connected to imagination processes and a continuous stream of individual interpretation that play with the question of what defines objective reality.
Markus Soukup is a media, video and sound artist living and working in London since 2012.
In general he considers the process of making work as an exploration of how an object, image or moving image can communicate its intended content or expression by still enabling freedom of interpretation on realistic and abstract levels.
He is fascinated by the infinity of possibilities and starting points, which the work with moving images provides. Since the end of the 90s he produces videos, 2D and 3D animations investigating the narrative, expressive, poetic and aesthetic potentials of this time-based medium.
A series to be continued investigates language and its structure by de-constructing content or flow, breaking it into parts and reconstructing it on a time based level. Other areas of his work incorporate digital photography and typography, graphic and interactive design, field recordings and electronic music.
His work has been shown in local, national and international exhibitions and festivals, for instance at the 11th international Media Art Biennale WRO 05 (Wroclaw, Poland, 2005), NEXT UP at the Bluecoat Liverpool (2008), the 10th Seoul International New Media Festival (Republic of Korea, 2010) and the Liverpool Biennial 2010.
In 2011 he was awarded the Liverpool Art Prize. As a result his work was shown in the ‘Elements & Satellites’ exhibition at the Walker Art Gallery, part of National Museums Liverpool in 2012.
In 2013 he was commissioned by Metal Culture to produce the video installation Strata for the ‘STILL, conflict, conservation & contemplation’ exhibition curated by Simon Poulter at City Gallery Peterborough.
Recent exhibitions include Infinite Separation, part of ‘Art:Language:Location’ at Anglia Ruskin Gallery Cambridge, and Disjointed at Museum Ex Teresa Arte Actual in Mexico City.
+ More information:
www.toofastproductions.co.uk
Furtherfield Gallery
McKenzie Pavilion, Finsbury Park
London N4 2NQ
T: +44 (0)20 8802 2827
E: info@furtherfield.org
Furtherfield Gallery is supported by Haringey Council and Arts Council England.
Featured image: Mari Velonaki, “The Woman and The Snowman”. Responsive installation incorporating autokinetic robotic sculpture (2013).
I first met Mari Velonaki in person a couple of years ago and since then have attended one of her lectures. I was impressed by her work as a cross-disciplinary arts-led researcher. Also, her imaginative approach in her art practice which spans across interactive installations, robotics and kinetic sculpture and human-robot interaction. This interview is an opportunity for readers to find out more about the ideas and the contexts behind her work, including plans, dreams and also what is happening in Sydney Australia, where she is based.
Eva Kekou: I am fascinated by the project Fish-Bird, it operates as a metaphor for me to connect and relate two different notions in the most poetic way as in the case of art, science and technology. Could you please give us some information about the idea of this project and both its artistic and research views – also how audiences responded to this.
Mari Velonaki: “Fish-Bird” is an interactive autokinetic artwork that investigates the dialogical possibilities between two robots, in the form of wheelchairs, that can communicate with each other and with their audience through the modalities of movement and written text. The chairs write intimate letters on the floor, impersonating two characters (Fish and Bird) who fall in love but cannot be together due to “technical” difficulties. This was an interdisciplinary project that involved the creation of novel interfaces for human-robot interaction, experimentation in distributed sensory systems and robot ‘perception’.
The wheelchair was chosen as the dominant object of the installation for several reasons. A wheelchair is the ultimate kinetic object, since it self-subverts its role as a static object by having wheels. At the same time, a wheelchair is an object that suggests interaction – movement of the wheelchair needs either the effort of the person who sits in it, or of the one who assists by pushing it. A wheelchair inevitably suggests the presence or the absence of a person.
Furthermore, the wheelchair was chosen because of its relationship to the human – it is designed to almost perfectly frame and support the human body, to assist its user to achieve physical tasks that they may otherwise be unable to perform. In a similar manner, the Fish-Bird project utilizes the wheelchairs as vehicles for communication between the two characters (Fish and Bird) and their visitors. Finally, the wheelchair also possesses an aesthetic that is very different from the popular idea of a robot, as it is neither anthropomorphic nor “cute”. Given that a wheelchair is a socially charged object, the interactive behaviour and the scripting of how the chair should move was developed in consultation with wheelchair users. The participants are actively discouraged from sitting on the wheelchairs: if a participant sits on a wheelchair a sensor embedded in the seat upholstery pauses the entire system until the participant vacates the wheelchair.
What we’ve learned from the Fish-Bird project in relation to human-robot interaction, after 35,000 recorded encounters in five countries, is that behaviour is more important than appearance. Although Fish and Bird have the utilitarian appearance of an assistive device, participants were drawn to them because of the way they move and interact physically with them, and because of the handwritten style ‘personal’ messages that they print for their audience.
EK: Your project Diamandini brings up issues of femininity, interactivity into the context of computer and informatics. It again works as a nice metaphor but in practice it is a research project between the Centre for Social Robotics, Australian Centre for Field Robotics, the University of Sydney and yourself. Can you give us more information about this and also report to us about the outcome of the research project about the understanding of the physicality that is possible and acceptable between a human and a robot within a social space.
MV: The original intent of the Diamandini project was to create a robot that was non-representational and non-anthropomorphic – also, I wanted to work with the concept of one-to-one interaction: one human, one kinetic agent. As I started experimenting with a variety of abstract sculptural forms, although interesting in shape and structure, I found it extremely difficult to assign behaviours to them that could lead to emotional activation of the spectator/participant. These considerations influenced my decision to create a humanoid robot. This was a challenging decision, especially when I had to decide how the robot should look. I didn’t want Diamandini to have a typical humanoid robot aesthetic. I began to think of Diamandini as a female sculpture. In my mind Diamandini had a diachronic face that spans between centuries, a style that could be reminiscent of post-World War II fashion influences, and at the same time with futuristic undertones. Diamandini is small – only 155 cm high. I wanted her figure to be small and slender so that people didn’t feel threatened by her when she ‘floats’ in the installation space. I wanted her to look youthful, but not like a child, and for her age not to be easily identifiable. Interestingly, in my mind she is between 20 to 35 years old. Because I am a woman, I feel more comfortable working with a female rather than a male representation.
In relation to people interacting with Diamandini in social spaces, we are still processing data collected from 3,682 interactions at the Victoria & Albert Museum in 2012. From these interactions what we know so far is that, although people would spend – on average – more than five minutes with her in the Medieval and Renaissance Galley, only 88 people embraced her or held her hand. It will be interesting to compare this result with new data coming from Diamandini’s current exhibition at FACT, Liverpool, where she is exhibited in a contemporary gallery setting.
EK: You are an artist and researcher. How do you think that these two relate to each other, give feedback to each other and can give a mutual input to your work? How connected are art and research in general?
MV: I see my work as practice-led research. I’m interested in developing and testing new concepts of what an artwork can be, in the same way as I’m having conceptual and aesthetic concerns of what a robot can be. Interactive media art has a long history of looking at sharing spaces with projected and kinetic characters. I’m interested in the brief moment when a spectator becomes a participant – conceptually and physically. This is where the core of my research lies.
EK: The female character and femininity plays a crucial role in your work. How can “fragile femininity” be embraced by science and technology and its connected artwork under the light of media art?
MV: I don’t perceive my work as fragile femininity – at least consciously. Many of my characters don’t have gender: for example Fish-Bird, Fragile Balances, Current State of Affairs. If a representation of gender is necessary – as in previous works that contain projected digital characters (Pin Cushion, Unstill Life, etc.) or is a humanoid robot – I choose to work with female forms as I am more comfortable to sculpt, script and create a kinetic language for a female representation. The element of fragility, though, is a thread that links many of my works. Anne-Marie Duguet wrote a wonderful essay “The Power of Vulnerability” about my work ‘Fragile Balances’ (2008) in which she writes “’A fragile balance’ could define all complex interactive processes that involve human intervention. Interactivity always extends to the limits of more than one language, more than one reality. It relies on operations of interpretation and coding that, as a matter of course, produce slips of meaning, simplifications and omissions which can undermine the effectiveness and reciprocity of exchange, and hinder the pleasure of transgression.”
EK: I know you have exhibited in different parts of the world – how do audiences respond to your work?
MV: I guess it depends on the work. In general I think maybe I could add that I think people are attracted to my work because – although it partially depends on complex technological systems – the work itself doesn’t look at all technological. I want to believe that my audiences are attracted to my ‘characters’ maybe because of the element of surprise: a porcelain-like sculpture that moves; wheelchairs that write love letters; wooden cubes that act as embodied avatars for robotic characters.
EK: What are your next steps as an academic, artist and researcher? Which of your dreams do you want to make true through your work (relating them to art, science and technology as another metaphor)?
MV: At the moment a lot of my focus is on growing and strengthening the Creative Robotics Lab (CRL) at NIEA. I founded CRL with an aspiration to build a cross-disciplinary experimental space for human-robot interaction research and interface design. At CRL people from different disciplines – arts, robotics, psychology, philosophy – work together because they believe that, to improve human-robot interaction, a cross-disciplinarily approach is not complementary but essential. CRL for me is a safe place for risk-taking.
Mari Velonaki has worked as an artist and researcher in the field of interactive installation art since 1997. Mari has created interactive installations that incorporate movement, speech, touch, breath, electrostatic charge, artificial vision and robotics. In 2003 Mari’s practice expanded to robotics, when she initiated and led a major Australian Research Council art/science research project ‘Fish–Bird’ (2004-2007) in collaboration with roboticists at the Australian Centre for Field Robotics (ACFR). In 2006 she co- founded, with David Rye, the Centre for Social Robotics at ACFR, a centre dedicated to inter-disciplinary research into human-robot interaction in spaces that incorporate the general public. In 2007 Mari was awarded an Australia Council for the Arts Visual Arts Fellowship. In 2009 she was awarded an Australia Research Council Fellowship (2009–2013) for the creation of a new robotic form. In 2011 she was appointed as an Associate Professor at the National Institute of Experimental Arts (NIEA) at the College of Fine Arts, The University of New South Wales, where in 2013 she founded the Creative Robotics Lab. Mari’s artworks have been widely exhibited internationally. http://mvstudio.org/
Tatiana Bazzichelli is a researcher, networker and curator, working in the field of hacktivism and net culture. She is part of the transmediale festival team in Berlin, where she develops the reSource for transmedial culture, an ongoing distributed project of networking and research within the transmediale festival. She received a Ph.D. in Information and Media Studies from Aarhus University (DK), conducting research on disruptive art practices in the business of social media (title: Networked Disruption: Rethinking Oppositions in Art, Hacktivism and the Business of Social Networking). Bazzichelli is also a Postdoc Researcher at the Centre for Digital Cultures /Leuphana University of Lüneburg (DE).
In light of absolute domination by market forces over all of our lives, and with the top-down orientated power systems’ bias towards business and the implementation of a consumer class. New ways of thinking around the problem is called for. There has been a dramatic shift of unethical companies such as BP funding art’s and technology projects, and mainstream museums and galleries in the UK. [1] Alongside this, those hoping to receive arts funding are told to be innovative and more entrepreneurial than they already are. What they really mean by ‘innovative and entrepreneurial’ is, get in line with the values of a corporate mentality, and not be contextual or critical in one’s art practice. This wholesale move towards business as it further dominates the content, ideas, societal context, and missions by artists and art collectives – is of deep concern for all who wish to explore freedoms of expression on their own terms and not inline with the state’s or a corporation’s set of diverting agendas.
Art activism in media art and transdiscilpnary arts culture has engaged with political and societal issues while under the gaze of neoliberalism quite successfully. However, what changes have occured that we can draw upon to say we have built real alternative values for others to work with? There are plenty of people from the dark side calling us to join them, like that eirie voice from the original Evil Dead movie.
I’m reminded of Thomas Frank’s insightful words in his article TED talks are lying to you, that those who urge us to “think different” almost never do so themselves. [2] And this is the nub, what will become us if we step over into their world and adapt our minds to their visions?
“To expect or even wish those who rule and those serving them to change, and challenge their own behaviours and seriously critique their own actions is as likely as winning the National Lottery, perhaps even less.” [3] (Garrett 2013)
So, this brings us Tatiana Bazzichelli who has been thinking about this stuff a lot. Her Proposition is that we need climb out of these oppositional loops in order to find different ways of being, and refocus on potential art strategies in relation to a broken economy. In her publication Networked Disruption: Rethinking Oppositions in Art, Hacktivism and the Business of Social Networking, Bazzichelli puts forward the notion of disruptive business and it “becomes a means for describing immanent practices of hackers, artists, networkers and entrepreneurs”, and sheds “light on two different but related critical scenes: that of Californian tech culture and that of European net culture – with a specific focus on their multiple approaches towards business and political antagonism.”
Marc Garrett: In your book you examine a breadth of disruptive practices of networked art and hacking culture in California and Europe. You propose your main objective is to rethink the meaning of critical practices in art, hacktivism and social networking, analyzing them through business instead of being in opposition to it.
Could you explain how this would change situations and what it would bring to artists exploring disruption as part of their practice, networked art culture and the wider community, and what this may look like?
Tatiana Bazzichelli: I will begin answering your question by adding another one: Why do we need to rethink artistic and hacktivist oppositions in the context of social media and after the emergence of Web 2.0? This question is at the core of my book, and also the main link that connects together my previous book, Networking: The Net as Artwork (2006), and the following ones centered on the concept of networked disruption and disrupting business.
The idea of conscious participation in media practices is central to analyse the evolution and transformation of the concept of “networking” in the age of social media. My reflections are the consequence of a process of direct involvement within the activist (or rather “artivist”) scene in Italy since the mid-90s, and furthermore, they are based on the analysis of a more international fieldwork of practices between the Europen tradition of netculture, and the development of cyberculture in California. Practically all my books are to be thought of as subjective, and as consequences of a personal experience which aims to create connections between very diverse fields of action, applying the idea of networking both in theory and practice, and as a methodology of writing.
Between the end of the 1990s and the early 2000s, many actions of media criticism were often very dialectical, and rooted on the idea of antagonism as radical opposition. I am for example thinking about what was (erroneously) called “the anti-globalization movement”, the protests in Seattle, Prague, Goteborg, Genoa, etc.: somehow it was easier to identify an “enemy”, for everyone to unite against the same power. Unfortunately this also meant that it was easier to identify the members of the movement(s) themselves, and many protests faced violent chains of repression by the authorities. In particular in Genoa, the Italian movement and its global counterparts were hit hard. My personal opinion is that the frontal opposition, the idea of assaulting the “red zone” during the protests, did not work at all: we basically played the game of the police. Without dismissing this experience, which was very important in itself and for the start of new activist projects, after Genoa 2001 I started searching for a new way of activism that was not black and white, and which would be harder to appropriate. This was also the reason why I started entering in contact with many projects in the queer, pink, and independent porn culture, which were combining ludic strategies and playful disruption beyond oppositional confrontation. I was trying to connect those to the concept of hacking – mixing the codes to create disturbance, to generate subliminal interventions, to give rise to paradoxes, fakes and pranks, as previous projects based on multiple identities, from Luther Blissett to Neoism and Monty Cantsin, had done before.
“In 1994, hundreds of European artists, activists and pranksters adopted and shared the same identity. They all called themselves Luther Blissett and set to raising hell in the cultural industry. It was a five year plan. They worked together to tell the world a great story, create a legend, give birth to a new kind of folk hero.” Luther Blissett.
But after 2004, which is also the time of the emergence of Web 2.0, the critical framework of art and hacktivism shifted: networking, a concept which had informed the Avant-garde since the 1960s, became a tool for a wider audience, and a pervasive business strategy. The ideas of openness, do it yourself, sharing, the “mottos” of the hacker culture in the 1990s, became the main rhetoric of the Web 2.0 companies based on the appropriation of “free culture”. This meant to me that also artistic and hacker practices needed to be recontextualised, since the concept of social networking became something completely different from its roots, and the business companies themselves were applying the concept of disruption as main business logic. Is it possible to oppose disruption with disruption?
In the era of immaterial economy and increasing flexibility, the act of responding with radical opposition no longer looks like an effective practice, since the risk is to simply feed the same machine replicating the capitalistic logic of competitiveness and power conflicts. In my opinion, and here I speak through my “artivist” experience, even the concept of the multitude as a model of resistance against the capitalist system – which runs at a theoretical level – is difficult to apply on a pragmatic level without having to recreate the traditional dynamics of the “power-contra power” conflict. The point is to try to figure out how to imagine new forms of participation that go beyond dualistic conflict – and that go beyond the creation of a hegemonic and holistic entity, although presented as a plural (the multitude, indeed). As a result, it is definitely necessary to reformulate the language, which enters the sphere of production and the political, as Paolo Virno states, but most of all, activists practices and critical strategies need to be rethought.
What my book Networked Disruption suggests is the act of performing within the capitalist framework, not against it, keeping the dialectic open through coexisting oppositions. The notion of disruptive business is useful for reflecting on different modalities of generating criticism, shedding light on contradictions and ambiguities both in capitalistic logics and in artistic and hacktivist strategies, while rethinking oppositional practices in the context of social networking. In this book the concept of the Art of Disrupting Business must be interpreted beyond categorical definitions, and as a new input for imagination. “Disruption” implies a multi-angled perspective and it is a two-way process, where business and the antagonism of business intertwine. Adopting a hacker’s strategy, hacktivists and artists take up the challenge of understanding how capitalism works, transforming it into a context for intervention and trying to alter business logics. Rethinking strategies and modalities of opposition implies that new forms of interventions and political awareness should be proposed without antagonising them, but rather by playing with them and disrupting them from the inside of the machine. The vision of a distributed network of practices, participations and relationships can only be fragmented, and based on multiple layers of imagination.
Today there are artists and activists who are inspired by a certain tradition of “disruption”, creating interventions from within, critically appropriating the business logics, stretching its limits, or proposing alternative models to it. Many of them are the case studies of my book, where I propose a constellation of social networking projects that challenge the notion of power and hegemony, and where social networking is not only technologically determined. Projects and experiences such as mail art, Neoism, The Church of the SubGenius, Luther Blissett, Anonymous, Anna Adamolo, Les Liens Invisibles, the Telekommunisten collective, The San Francisco Suicide Club, The Cacophony Society, the early Burning Man Festival, the NoiseBridge hackerspace, and many others. Of course there are many more of these. Holes in the system are everywhere, ready to be performed and disrupted.
MG: There is a quote in the book that it says, “Innovation is rooted in Desire, not need. Desire is the motivation for behaviour. Desire leads to goals, and goals lead to motivation, the internal condition that gives rise to what we want to do, based on our goals, what can we do – based on the norms of behaviour – and what we will do – the actions that we voluntarily decide to undertake. Motivation is the ethos of goal-oriented behaviour, and a company’s ability to understand motivation directly contributes to the success of their products and services in the marketplace” (Manu, 2010, p. 3).
I’m wondering, coming from an activist background myself where do you think free culture fits into this dialogue, especially in respect as a critique of products and services in the marketplace, as well as social forms of emancipation?
TB: The quote you are referring to comes from a book entitled Disrupting Business: Desire, Innovation and the Re-design of Business (Alexander Manu, 2010). As we can read in the business literature, the concept of disruptive business is rooted in the idea of disruptive innovation. Disruptive innovation, a term coined in 1997 by Clayton Christensen, Professor at the Harvard Business School, is used in business contexts to describe innovations that introduces a product or service in ways that the market does not expect. In the business culture, disruption not only means rupture, but links to the idea of innovation and re-design of behavioural tendencies. Therefore performing disruption shows a process that interferes with business, whilst at the same time generating new forms of business. This mutual feedback loop is at the core of my analysis.
However in my book business is neither analysed through classical business school methodologies, nor seen as positive or negative, but it is a means for working consciously on political practices – and for raising questions on art and media criticism. In 2009 I was a visiting scholar at Stanford University where I was researching the reasons of the progressive commercialisation of networking contexts after the emergence of Web 2.0, through the development of hacker culture in the Silicon Valley. From the interviews that I conducted, and also via the close reading of the book From Counterculture to Cyberculture by Fred Turner, it was evident that since the development of the early cyberculture hackers and members of the so-called “counterculture” have been trying to disrupt business via their practices, and in parallel, business corporations have been trying to do the same through technological innovation. Since the 1960´s, hackers and artists in California have been active agents in business innovation while at the same time also undermining business. This is also very evident today in the business context of Web 2.0 where many hackers are working at the core of business, while disrupting it – the Anonymous entity is one of the most successful examples of this.
In my book I compare what the concept of business disruption meant in the European context and in the US, especially in Silicon Valley. When I was interviewing computer engineer Lee Felsenstein he told me that in California hackers would refuse hegemony but not business. This is also why many of them have no problem in working for Google, which is actually employing the best hackers of the area. In Italy we always claimed that hacking is politics, and politics is an “attitude”, which informs your everyday life and lifestyle. What I discovered in the Silicon Valley is that libertarian practices are often linked with the refusal of the political, and this is the position of many members of the hacker culture in California. Therefore, what for me was the initial “problem”, the contamination of business and free culture, was not considered as such among the hackers that I met between San Francisco and Palo Alto.
This consideration leads me to create a model of analysis named the “disruptive feedback loop”, based on the idea of layering instead of cooptation – such an idea of “layering” rather than cooptation, was proposed by Fred Turner in the lecture “The Bohemian Factory: Burning Man, Google and the Countercultural Ethos of New Media Manufacturing” (2009), while discussing the social phenomenon of Burning Man. The idea of the “mutual feedback loop” between business and hacker culture is instead the result of a conversation in 2009 with Jacob Appelbaum, who at the time was an active member of NoiseBridge in San Francisco, when we were reflecting on the development of hacker spaces in California. In my disruptive loop model, artists and hackers use disruptive techniques of networking in the framework of social media and web-based services to generate new modalities for using technology, which, in some cases, are unpredictable and critical; business enterprises apply disruption as a form of innovation to create new markets and network values, which are also often unpredictable. Networked disruption is a place where the oppositions coexist, and it is a reconfiguration of practices into a structure of mutual feedback instead of opposition.
Here I propose disrupting business as an art practice: artists and hackers adopt viral and flexible strategies, as does contemporary networking business, and by provoking contradictions, paradoxes and incongruities, business logic is détourned. This model can be applied both in the analysis of business contexts of social networking and of critical practices generated by hackers and artists. For example, projects such as Anna Adamolo and Seppukoo reflect on the tensions between the open and closed nature of social media, stressing the limits of Facebook’s platform, and working on unpredictable consequences generated by a disruptive use of it. Paradoxically, to be critical of business we should learn from it.
The Telekommunisten collective explains this well, and it is not a coincidence that Dmytri Kleiner comes from a Neoist background: the experiences of Luther Blissett and Neoism made it hard to see any “truth”, they forced us to question and examine our identities. If you claim to have the truth, you will fail – someone else will proclaim the truth, and perhaps with much more strength and power than you. The Miscommunication Technologies by the Telekommunisten show that the enemy can eat you up and that the capitalist system has endlessly more resources to force its “truth” on you. We have to learn from business, understand how to be pervasive. My point is that we should stop looking for the enemy, because who is the enemy today when disruption and its opposition are feeding the same machine? The challenge is to unite where the system can’t get you, and you’re not playing into its hands, exposing contradictions, generating disturbance, to disrupt and perform the feedback loop at once. The challenge facing the art of disruptive business is to dissipate oppositions through a network of multiple, distributed, playful and disruptive practices.
MG: It was licensed under a peer Production License (http://p2pfoundation.net/Copyfarleft), similar to a Copyfarleft License (http://p2pfoundation.net/Peer_Production_License). Very different than a Creative Commons Licence, and drawn up by one of the artists you write about in the book Dmytri Kleiner. It feels relevant to be on the P2P Foundation wiki, however it would be useful know how it relates to the context of your publication?
TB: As it is stated on the P2P Foundation website, based on the text published in The Telekommunist Manifesto, “the Peer Production License is an example of the Copyfarleft type of license, in which only other commoners, cooperatives and nonprofits can share and re-use the material, but not commercial entities intent on making profit through the commons without explicit reciprocity”. The Peer Production License is a hack of the Creative Commons licenses. Where the Creative Commons is mostly used for sharing works non-commercially, the Peer Production License wants to contribute in expanding a non-capitalist economy, generating earnings that are shared equally. Commercial use is therefore encouraged for independent and collective/common-based users only, proposing a business logic that does not lead to a private appropriation of community-created value.
This logic is also at the core of the “Venture Communism” concept coined by Dmytri Kleiner in 2001, which proposes to allocate equally the collectively owned material wealth, and to create a peer-to-peer social commons as an alternative to venture capitalism.
I decided to release the Networked Disruption book under this license because I consider it a coherent intellectual gesture, and also a “business experiment”. From what Dmytri told me this is the first book released under this license after the Telekommunist Manifesto, and hopefully the use of such license, if increased, will be part of poking a small hole in the capitalist economy, generating value which is not going into few owners’ pockets, but is shared equally among the workers and producers. This is also the reason why all my publications exist both online and on paper and are freely downloadable from the web, because it would be contradictory to write about certain topics and then release my toughts under proprietary licenses. In this case, since the book is about disrupting business, I decided to apply a disrupting business license, and to my point of view this is what the Peer Production License is.
Conclusion:
Bazzichelli’s investigation is a timely and necessary critique on how to free up networked forms of freedom of expression and its varied practice. At first, I was suspicious. Indeed, in a later publication on the subject co-edited by Tatiana Bazzichelli & Geoff Cox, called Disrupting Business: Art and Activism in Times of Financial Crisis; “Bifo” Berardi, in his article EMPTINESS says “Business is, in my opinion, the most despicable word in the vocabulary. Well, I will try to express it better: the meaning and implications of the word ‘business’ in contemporary culture and daily life, and the positive emphasis placed on this term, are the most telling symptoms of the abysmal alienation of our time.” On this I agree.
We are all emersed in the sea of neoliberalism and we are struggling to keep our heads above the water at various levels. Some are aware of it and are not dealing with it, most are unconscious of it and are drowning in it, and then there are those actively awake and exploring different and innovative ways to survive and hack ‘around, in between and through’ this deep totalising ocean.
Whether we like it or not, business unfortunately is the dominating regime controlling our interactions, and this includes our cultural, digital interfaces and social contexts. Bazzichelli asks us to stare into the monster’s face – what Bifo sees as a deep emptiness. She pulls out of the slimey depths a glimmer of hope and an advancement for playful and critically aware forms of artistic disruption. It is an academic and cultural hack and reminds me of Donna Haraway’s proposition in the mid 90s for Situated Knowledges. Haraway realised with other collaborators that it was a fantasy to think that the patriarch was going to somehow willingly hand over control and be enlightened to the idea that women scientists should be accepted as equal in history and academia.
“We seek not the knowledges ruled by phallogocentrism (nostalgia for the presence of the one true world) and disembodied vision. We seek those ruled by partial sight and limited voice – not partiality for its own sake but, rather, for the sake of the connections and the unexpected openings situated knowledges make possible. Situated knowledges are about communities, not isolated individuals.” [4] (Haraway 1996)
Her proposition is not suggesting that critical, ethical artists and pranksters give up and put down their tools and become business men and women instead. Using terms such as ‘disrupting business’ is not conforming or giving up the fight. It is a shift in strategy. She has successfully illustrated that there is a continual rise in imaginative experimentation where artistic hacking with the protocols, interfaces, code, data and surveillance is alive and well. It is about infiltration of these ideological defaults and the power systems that rely on them. Resistance is not futile, it is just changing direction from reliance for absolute desire (which lets face it is rarely fullfilled) from momentary tactics and momentary hacks, into informed hacking with socially aware and engaged strategies. She is asking for an intelligent response, a less macho way in dealing with the problem. This means building deeper relations with others through affinities and sharing critical knowledges while disrupting the business of neoliberalism. And most of all, carry on playing…
Featured image: Cardboard Soldier, 2009 exhibition T-Space Gallery Beijing. Joseph DeLappe.
Joseph DeLappe’s art projects have received much interest ranging from the art world, New York Times, Wired magazine, and publications such as Joystick Soldiers The Politics of Play in Military Video Games, the first anthology to examine the reciprocal relationship between militarism and video games. DeLappe is considered a pioneer of online gaming performance art. His art examines the conditions and processes of cultural information to provoke and critique the state of military influences on everyday culture and people’s lives.
DeLappe’s work includes the controversial game based, performance and intervention, Dead in Iraq 2006-2011. This involved him frequently visiting the US Army’s online recruitment game and propaganda tool America’s Army. Using the login name dead-in-iraq, he methodically typed in all of the names of U.S. service personnel killed in Iraq, co-opting the Army’s own technology challenging the official figures as a reminder to its players of the real consequences of war. He also directs the iraqimemorial.org project, an “ongoing web based exhibition and open call for proposed memorials to the many thousand of civilian casualties from the war in Iraq.”
Joseph DeLappe, “dead…whats your point?” dead-in-iraq screenshot 2006-2011.
“The players ask DeLappe to stop what he’s doing, but when he continues they shoot him or simply kick him out of the game. You can see the strong reactions from the other players as a proof that DeLappe’s performance are successful. He succeeds to break the game illusion, in the same way as Brecht “Verfremdungseffekt” breaks the illusion in drama.” [1] (Jansson)
Much of DeLappe’s work is known for challenging his own nation’s involvement with war. However, if we look at The Salt Satyagraha Online: Gandhi’s March to Dandi in Second Life 2008, his work reflects a wider context introducing his concerns on the human condition. Over the course of 26 days, from March 12 – April 6, 2008, using a treadmill customized for cyberspace, DeLappe reenacted Mahatma Gandhi’s famous 1930 Salt March. “The original 240-mile walk was made in protest of the British salt tax; my update of this seminal protest march took place at Eyebeam Art and Technology, NYC and in Second Life, the Internet-based virtual world.” [2]
On hearing about DeLappe’s The 1,000 Drones Project – A Participatory Memorial, I was immediately intrigued. I wanted to find out more and discuss his approach as well as how he intends to bring to light the lives lost by these unmanned Arial predators as an art project, and what this would look like.
Marc Garrett: Could you tell us why you felt it was necessary to do this project even though there is already much media attention out there relating to the use of drones in domestic, military and commercial culture?
Joseph DeLappe: There has indeed been much media attention surrounding the use of militarized drones as a part of US foreign policy. Our drone policies have received much attention yet, as with the coverage of civilian casualties from the Iraq war, the actual human costs of our drone strikes remains rather illusive. Through the work I am doing regarding drones that specifically focuses on memorializing civilian deaths I hope to actualize the estimates of civilian deaths and to call into question the moral issues surrounding such remote killings. You might say that drones have struck a nerve with me. There is something different about drones. They seem to perfectly combine aspects of our worst fantasies of digital technologies, interactivity, computer gaming and war. One might consider them a bit of a “gateway” weapon (the drug reference is of course intentional here). I suspect we have indeed opened a Pandora’s box leading to the further utilization of remote and robotized weaponry that will make our current drone usage seem quaint.
The above is “An ongoing series of image interventions downloading images of UAV’s (unmanned arial vehicles) in use by the United States Military, including: General Atomics MQ1-Predator Drone, MQ9 Reaper Drones and Global Hawk Drones from the top results of Google image searches. Each image is slightly adjusted to include the marking “COWARDLY” upon it’s fuselage. The saved images are uploaded to my website with basic titling information “Predator Drone”, “Reaper Drone”, “Global Hawk Drone” – with the intention of having these images begin to appear in searches for information and images on drones occurs online. The works are intended as a subtle intervention into the media stream of US military power.” DeLappe
I am working on several drone projects at the moment, including The “1,000 Drones Project – A Participatory Memorial”, and seek to draw attention to and creatively memorialize those innocents killed by drones. It invites the public to create a small scale, papercraft replica of a General Atomics MQ-1 Predator UAV (Unmanned Arial Vehicle) – a drone. Participants are asked to write the name of a civilian drone casualty upon the wings of the aircraft.
This project is an adaptation of The 1,000 Cranes or “Senbazuru” tradition from Japan. This tradition holds that anyone who folds one thousand cranes will be granted a wish. Since World War II the tradition has been associated with the atomic attacks upon Nagasaki and Hiroshima – the folding of the cranes has become a wish for peace. [3]
MG: You are inviting participants to be a part of the project. In what capacity will they be taking part?
JD: The 1,000 Drones Project has been commissioned by the FSU Art Museum of the exhibition “Making Now – Art in Exchange”. The FSU Department for Art has for the past few months conducted a series of workshop events where the public is invited to make a small, paper drone from a provided template. The form is made directly from MQ1 Predator Drone plans found online. The drone shape is cut out, there are then five dotted lines denoting where to fold the paper – the result is a simple paper facsimile of a drone. Once the drone is created, the participant is invited to write the name of a civilian drone casualty along with their age at the time of death, upon the wings of the drone. The Bureau of Investigative Journalism estimates that between 2004 and 2013, drone strikes in Pakistan killed between 2,536-3,577 people, of these, it is estimated that 411-884 civilians and 168-197 children have been killed. The list of civilian drone casualties comes from The Bureau of Investigative Journalism. We are also using a list of drone casualties from Yemen found here: http://en.alkarama.org/documents/ALK_USA-Yemen_Drones_SRCTwHR_4June2013_Final_EN.pdf
At present we have a total of 464 persons identified as civilian drone casualties from Pakistan and Afghanistan. To complete the 1,000 drones, the remainder will be marked “unknown”.
The paper drones are to be strung together in groups of 18 per string, 55 strands will be hung in the center of the gallery to create an installation that will be triangular in shape. The making of the drones will continue with the opening of the exhibition in February until 1,000 are complete and installed.
MG: What will others learn or gain from this participation?
JD: This is difficult to pin down. My intention is that through the act of making a drone, followed by writing a name or “unknown” upon their creation that individual participants will in some small way actualize the loss of individual lives due to our drone attacks. The intent is to perhaps for some brief moment make real these deaths taking place in our name on the other side of the globe. The actions are decidedly low-tech as well – there is something important in this – the deaths become physical, perhaps drawn from the digital media stream, the digital process of the killings to a direct, physical act of making and remembering. I am very interested as well in the overall effect of the piece – to see 1,000 white paper drones hanging in space as a memorial will likely have a powerful impact. Numbers of civilians killed as reported through our media are all too often numbing and abstract – this piece will hopefully make real this abstract process of digitally remote killings.
MG: What is the lineage of this project?
JD: I’ve been working intensively over the past decade to creatively shed light on civilian and military casualties as a result of our ongoing “war on terror”. This includes “dead-in-iraq”, my intervention as a memorial and protest taking place within the America’s Army computer game and iraqimemorial.org, a crowd sourced project launched in 2007 inviting anyone to post concepts, imagined memorials to the many thousands of civilian casualties from the Iraq conflict.
Looking at DeLappe’s breadth of work informs us how detailed and complicated the subject is, and it equally reminds us how distant we all are from any quality debate about war and drone technology and the impacts these militarised technologies have on citizen’s lives. Thankfully, on the subject of drones the Internet is supplying us with different view points that mainstream news media fails to seriously investigate. Russia Today, reported that classified documents from the CIA could not “confirm the identity of about a quarter of the people killed by drone strikes in Pakistan during a period spanning from 2010 to 2011.” [4]
Kate Rich and Natalie Jeremijenko in 1997 as part of the then, anonymous Bureau of Inverse Technology were pioneers of the first art drone ‘The BIT Plane’. This work was featured in a group show at Furtherfield’s gallery, Movable Borders: Here Come the Drones! in May 2013. [5] In an article in Mute magazine Rich wrote, “The morally disgusting asymmetry of drones relates not only to their deployment by the powerful against the weak, but also to the radical disparity of risk entailed in exposing the defenceless living to pilotless killing machines.” [6] This brings to mind how vulnerable we all are to the whims of the powerful. This feeling of fear will strike at the heart of any humanist not on the ‘right’ side of those wielding such awsome destruction without challenge, until its too late.
DeLappe’s art not only reflects the militaristic world we are living in he is directly engaged with it. His focus on his nation’s obsession with war echoes what James Hillman wrote in A Terrible Love of War, “Hypocrisy in America is not a sin but a necessity and a way of life. It makes possible armories of mass destruction side by side with the proliferation of churches, cults and charities. Hypocrisy holds the nation together so that it can preach, and practice what it does not preach.” [7] (Hillman 2004)
Many contemporary artists are working with and critiquing Bio-Technology, Nano-technology, engineering, issues on Climate Change, border controls, data-mining, surveillance, economic and political fluctuations, and the military. This is in line with the expansion of the networked society. Controversies and battles are taking place in a time of uncertainty, where the very technology and systems that have supported progress, through its worldwide channels of production and prosperity; are now the very same tools threatening the survival of our species, contributing to climate change and the emergence of the economic, global crisis, as well as a threat to our civil liberties. Art and critical thinking examining this complex and strange territory and its impacts on us and the planet are right up there in pushing forward a new kind of radical investigation as an art practice.
Joseph DeLappe’s next exhibition ‘Social Tactics’ will be from January 24 to April 27, 2014 Fresno State Center for Creativity and the Arts, in the US.
Exhibition Tour and Artists Talk (Magnus Eriksson and Geraldine Juárez)
Saturday 03 May 2014, 2pm
Exhibition tour led by Magnus Eriksson and Geraldine Juárez followed by a live walk-through of the Piratbyrån archive and talk about some overlooked gems from their history at Furtherfield Commons. Expect to learn some Swedish while we are at it!
SEE IMAGES FROM THE PRIVATE VIEW
Contact: info@furtherfield.org
Curated by Rachel Falconer & Furtherfield
EXHIBITION TRAILER – Piracy as Friendship
@Furtherfield “Don’t contact future. Future will contact you!”
“For the last sixty years, capitalism has been running a pretty tight ship in the West. But in increasing numbers, pirates are hacking into the hull and the holes are starting to appear. Privately owned property, ideas, and privileges are leaking into the public domain beyond anyone’s control.” – Matt Mason, The Pirate’s Dilemma
Piratbyrån and Friends traces the stories of cultural sharing and affinity-building among the activities and values of the members of Piratbyrån (The Bureau of Piracy). This Swedish artist/activist group was established in 2003 to promote the free sharing of information, culture and intellectual property. The exhibition presents screenings, installations and artworks by founding and more recent members, keen to tell the story of the group on their own terms. It features newly commissioned work by artists Geraldine Juarez and Evan Roth, and a new networked audio collaboration which mediates their rich archive and foregrounds the role of piracy as an agent of innovative disruption and cultural transmission.
“The specific character of friendship as a form of social relationship is that it does not presume a permanent interaction. Friendships are a type of serial solidarity. The story of friendship is a story of meetings.” Viktor Misiano – The Institutionalization of Friendship.
Piratbyrån have always resisted clear definition. Created on the Internet as a loose friendship group with a shared commitment to media and piracy in the shifting ecologies of digital copyright law, Piratbyrån operated through a number of different identities. From the #discobeddienti IRC chatroom, to the infamous Pirate Bay, to the determinedly analogue SX23 bus trip to Manifesta 7, and their subsequent disbandment in 2010, Piratbyrån consciously cultivated an air of mystery and intrigue around their many activities.
Piratbyrån have always had a particular commitment to the value of friendship as a shelter for culture and a space to understand, imagine and experiment as a community from the edges of the Internet.
The exhibition features newly commissioned sculptures and installations by artists James Cauty, Geraldine Juárez and Evan Roth and a screening programme that includes Steal This Film by Jamie King and Piratbyrån and Friends by Geraldine Juarez.
Tapecasts (2013-2014) – Piratbyrån and Friends
SK23 Suit (2008) – Lina Persdotter Carlsson / Piratbyrån
S23m Manifesta Bus Trip (2008) – Piratbyrån & Simon Klose
S23x Belgrade Bus trip (2008) – Piratbyrån
Polymarchs posters (1980-1990) – Jaime Ruelas
Sharing is Caring Map (2008) – Sara Wolfert / Mathias Tervo / Piratbyrån
Kopimi Totem (2014) – Evan Roth
Torrent Tent (2014) – Geraldine Juárez
Riot Chat (2014) – Palle Thorsson
Smiley Riot Shield 2 (Second Edition) and PB2 (2014) – James Cauty
Piratbyrån (The Bureau for Piracy) was started by a bunch of hacking, coding, reading, listening, philosophising, clubbing, rioting, carding, chatting, loving, slacking people in 2003 as an antidote to Hollywood’s representatives in Sweden – Antipiratbyrån.
In 2007 – after having kickstarted the Swedish debate over file-sharing, which by the time had become a major issue in the previous years national election and after having created The Pirate Bay as a side-project that became the world largest file-sharing system – the people from Piratbyrån had grown tired of the file-sharing debate and its endless repetitions of for-or-against, legal-or-illegal, payment-or-gratis. At the last day of April in a Walpurgis fire on the top of the highest mountain in Stockholm the masked members burned the remaining copies of a book on file-sharing they had published some years earlier and declared the debate dead. The video documentation of this ritual, set to the soundtrack of KLF’s “What Time is Love”, found its way to the Indian Raqs Media Collective group who was just about to curate the next Manifesta biennial in Bolzano, Italy.
The loose network of Piratbyrån, now loaded with 7000 Euros of art budget and a sizable amount of cash from selling Pirate Bay t-shirts, decided to purchase, renovate and decorate a 1970s city bus, stack it with 23 people, and head down south.
The ongoing relation with the bus – named S23m/x/k respectively for each trip – would later make an exodus from the exhibition in Italy to head across Eastern Europe and end up at the trial against Pirate Bay. It became one of the most significant undertakings of Piratbyrån and shaped their thoughts on the tensions between digital abundance and crowded space, collective decisions and freedom of choice, and that which can be copied and that which can’t. The bus became a line of flight from the collective subject that had been built, a subject which was very associated with The Pirate Bay and also with Swedish politics, including the Pirate Party.
While nothing was really the same after the bus had returned, Piratbyrån formally lasted until 2009, when the tragic death of one of the founding members – Ibi Kopimi Botani – defined the end of an era. The Internet had already transitioned to another phase and it is not until now, and enough time has passed, that we as a culture are ready to reflect on what exactly happened during those years.
Piratbyrån always had an implicit friendship with the KLF. They share the same historical web of connections and share a similar trajectory, but their activities are shifted in time by roughly a decade. The only contact between the two is a response from Bill Drummond when Piratbyrån sent a link to the documentation of the Walpurgis ritual. It read:
> Thank you for your email.
> I have just read the text at the link.
> I enjoyed it and understood it.
It is probably good that they didn’t exist at the same time because the gap in time gives the relation an infinite unresolvable tension of unfulfilled connectivity and unlimited possibilities.
James Cauty
For Piratbyrån, James Cauty’s personal work resonates with the themes of abundance and rarity, presence and absence, functionality and waste, control and chaos, and draws on the same symbolic language that mixes clarity with suggestion. There is also a similar urge to *stir things up* and *stick ones nose where it doesn’t belong*.
Evan Roth
Speaking of stirring things up, FATLAB was for Piratbyrån another one of those instantly recognisable friends that had never met; the art group that Piratbyrån never became, the “the unsolicited viral marketing wing of the open-source movement”, the graffiti crew of the World Wide Web. FATLAB was born when the file-sharing debate was buried and the new web 2.0 era transformed the web.
Evan Roth, co-founder of FATLAB, has made a piece for the exhibition that in a subtle but direct way captures the concept of KOPIMI; how meetings and connections leave traces and makes you a carrier of ideas and information, sometimes without you even recognising it.
Jaime Ruelas & Polymarchs
The soundsystem collective Polymarchs and their illustrator Jaime Ruelas, probably happily unaware of the existence of Piratbyrån, embodies a scene in Mexico where piracy has always been a way of life and a mode of existence. They have materialised, expressed and lived what was only hinted at in glowing screens up in Sweden. Having outlasted all of the above mentioned collectives and managed to stick together for decades, they also highlight both the potential strength and – as a contrast – the fragility of so called “confidential projects”; those moments when friendships turn into expressive units and the borders between the intimate and the public are blurred.
Geraldine Juárez
Last but not least, Geraldine Juárez is the reason this exhibition came together at all. She began to read the Swedish-language blogs of Piratbyrån members through Google translate – whose mistranslations made them sound like they came from the near future instead of the near past, until she finally came into contact with Piratbyrån by translating updates from the trial – or Spectrial, as it was known – into Spanish. Now she returns the favor of time-travelling by re-awakening Piratbyrån one last time, to allow their archive to again live up, their ideas to be carried over to others and perhaps even some sense made from what happened, although these things can only be interpreted, misunderstood and re-appropriated – never explained.
Inside the tent that she has crafted for the exhibition – a torrent for piracy as the last shelter of culture – there will be a collection of tapes prepared and circulated by Piratbyrån and friends, perhaps giving some seed for thoughts and guidance in the process of excavating the archive of Piratbyrån.
About co-curator Rachel Falconer
Rachel Falconer is a curator, writer and producer working at the intersections of technology, the media and contemporary art. She currently holds the position of Head of Art and Technology at SPACE and runs the art and technology programme at The White Building and SPACE MediaLab. She is Co-Editor at Furtherfield and a founding member of the collective Hardcore Software.
Her curatorial practice is hybrid and interdisciplinary in approach and her current activity and research focuses on the pathologies surrounding social spaces and human behaviours engaged with networks and new technologies.
Furtherfield Gallery
McKenzie Pavilion, Finsbury Park
London N4 2NQ
T: +44 (0)20 8802 2827
E: info@furtherfield.org
Furtherfield Gallery is supported by Haringey Council and Arts Council England
The artist and curator Art Clay was born in New York and lives in Basel. He is a specialist in the performance of self created works with the use of intermedia and has appeared at international festivals, on radio and television television in Europe, Asia and North America. His recent output focuses on large media based performative works and spectacles using mobile phone devices. He has received prizes for performance, theatre, new media art, music composition and curation. As an educator, he has taught media and interactive arts at various art schools and universities in Asia, Europe and North America including the University of the Arts in Zurich. He is the initiator and Artistic Director of the ‘Digital Art Weeks International’ and the Virtuale Switzerland.
Eva Kekou: Could you tell us about your work and what inspires you?
Arthur Clay: The question about inspiration has been posed to me before and most often in the moment when people first see the program that the Digital Art Weeks (DAW) is offering. As an artist I am very much inspired by the every day. I think it is important to be aware of the things around you and by so doing, my artwork seems to have more of a present day dialogue and the events I curate more to do what is actually going on in the society around me. So basically, everything and nothing and all the things in between inspire me. There are no rules, but with a lot of effort to try and come closer to things might be the one I apply the most.
On the one hand, I am a practicing artist and most of this work is concerned with sound. On the other hand, I believe that curation is an art in itself and requires a high level of creativity. It is easier for me to make an artwork in comparison to harmonizing a group of artworks. The two meet in the fact that I grounded the DAW projects in order to provide a platform for my own work and that of others, who think in like minded ways.
EK: You were the curator for the Augmented Reality exhibit “Window Zoos & Views” in collaboration with the participation of the School of Digital Media and Infocomm Techology from Singapore Polytechnic. On the project site, it mentions that the main element of the project was inspired by an image of a car driving down Singapore’s legendary Orchard Road. Could you tell us a bit more about this and the project?
AC: As DAW Director, I am confronted with the same situation each time we bring the festival: Representation and integration. By representation is meant that we have institutions both public and private that act as stakeholders and in turn expect a high level of visibility; talking about integration is much more complex, because there are many levels of integration that must be addressed. First off, the festival structure demands that we integrate local artists into the program along with the international artists participating. Integration of local artists can also mean or entail a high level of knowledge and skill transfer. We do all this during what we like to call the “Exploratory Phase”, which is basically entails dropping the DAW team into a unfamiliar city and making every effort to make it familiar. This includes becoming aware of the general culture the festival will address, how digital that culture is, the art and non art spaces that will become the stage of the festival, and of course trying to find out who is doing what in terms of arts and technology.
To get back to your question about the image of the car driving down the street, the most important element of integration is becoming aware of what is going on in the world of things in which the festival is to be presented. The car we are talking about was a car whose windshield was plastered with cartoon stickers. So, imagine you’re self-sitting at the wheel of that car driving down Singapore’s Orchard Road. It is a really surreal experience; the stickers take on a kind virtual elelment as it floats down Orchard road. The image sparked my imaginations and the AR Parade project was born, which was a very important part of the “Window Zoos and Views” exhibit. Basically, the AR Parade mimicked the effect of the stickers on the car window, but instead of a car windshield, we used an iPhone app to view the images. It was very cool, popular on the street and got a lot of clicks.
EK: There were various artists in the festival showing Augmented Reality art as installations. This included artists such as Tamiko Thiel (DEU), John Cleater (USA), Will Pappenheimer (USA), Lily & Honglei (CHN), Marc Skwarek (USA), Lalie S. Pascual (CHE), John Craig Freeman (USA), and Curious Minds (CHE). It must of have taken a lot of time and energy to organize this, especially the technological aspects of the project. How difficult was it to set all of this up?
AC: In one word: impossible. It is new area of technology, a new approach to curating art, and above all you are dealing with a non-art public – basically anyone who is on the street. That is a big challenge. Add to it the new type of management skills that such an international project work requires and I think you are close to the impossible that I am referring to. For such exhibitions, “Management 2.0” skills are a necessity. The artists, the tech people, and the curators and admins meet and work solely in virtual space. So there are no walls, no tables, and there is no going for coffee together after the meeting. It is a different world from all sides.
Another interesting aspect of this work is that you have to develop a feel for the city and develop a dialogue with it. For the Hong Kong show we did for SIGGRAPH Asia, Monika Rut and I spent about a week working on site, visiting the different areas of the city to check things out and to get a feeling for which works should go where and why. We travel with a lot of special equipment so that we can make tests on site and produce a mock up of the exhibition and test how the experience of viewing the exhibit will be. It is very inspiring but exhausting work and the dialog between Monika and I helped greatly in making all the decisions. Basically, we get to know the cities we are working in quite well and the kick back is, you get to know where the best coffee houses and local restaurants are.
EK: Why hold the DAW in Asia, and what kind of differences do you experience culturally when working in Asia compared to working in Europe?
AC: The DAW is at home in Asia and much of our curating has to do with having visitors get pro-active. This means that it is not just about looking at an artwork, it also entails actually touching the artworks in many cases. In Asia, the museum visitors are not that schooled in museum etiquette. They like to touch things and this is great for the kind of work we like to do. Things break, but it is kind of a “I Like” thing for us.
The other aspect to consider is that you have a language barrier, because no one is going to understand anything if it is not translated. Here, it is also important to know that the approach Europeans take in terms of explaining artworks, does not really come over so well in Asia. Things are often inspired by poetics of nature in Asia and are much less conceptual than works coming from Europa.
Last but not least, the role of size also plays a large part in Asian arts. When a dynasty was at its peek, it produced very large artworks, monuments etc. So size is historically a sign of wealth and prosperity in Asia. When a dynasty fell, they produced much smaller works. So the bigger the better, so to say. For a European artist this is completely meaningless, however, bigger artworks have more visibility. So when you are curating group exhibits in Asia that artists from diverse countries, it is a challenge to keep balance in terms of impact of the works.
EK: Getting back to There DAW AR Float Parade, which was the first of its kind and celebrated as the coming age for Augmented Reality art. Could you tell us more about this aspect of the festival’s project and how it turned out?
AC: Knowledge transfer plays a major role in getting a project like the AR Parade to work. The DAW has an “OutReach Program”. This is a program that invites creative leaders from around the world to hold workshops before or during the festival. The contents of the AR Parade in Singapore were the results of a workshop with the AR artist John Craig Freeman and the Curious Minds group. John Craig dealt with the technical details and the bootstrapping a group of twenty-five creative industry students from the Singapore Polytechnic. The members of the Curious Minds art group hung around, integrated the group into the DAW, taught the students about public interaction, and came up with how to go about actually making the AR Parade happen and come to life.
The proof of a good project for me is when it takes on its own life on after its initial presentation. After the Singapore DAW, the AR parade went to Hong Kong and in 2015 it will be shown marching down the Bahnhofstrasse in Zurich as part of the Virtuale Switzerland festival – the world’s first festival “virtual biennale” that focuses solely on virtual artwork. For this we want to go a bit deeper into the creative industry world and see if we can act as modern alchemists and pick up on the float parade from New York and turn Miss Kitty into an artwork by shifting context from the real to the virtual.
Live- Performance “Beads are the Breath of the Landbridge “ with 1st Nations artists, Peter Morin. (DAW Singapore 2013)
EK: What is your view regarding the social contexts of the DAW?
AC: Basically, we are concerned about things and we make an effort to improve things that are within our reach to improve. For the festival in Taipei that will take place in 2015, we are really trying to make people aware of the role of creativity in general. Artists are highly creative people and the world really needs good ideas as well as a more social approach. We try to provide an answer to the question: “How is what we do of benefit to the society in which we are operating?” We think this should be more a question that businesses should be asking themselves. The future needs fewer companies who are “profit first, prosperity second” and more social entrepreneurships that embrace social needs as part of their business model.
EK: Could you tell us what themes and aims we can expect from of the DAW project in the future?
AC: We are off to Seoul, South Korea in 2014 and the theme there is “Creativity and Convergence”, which is a hot topic in Asia, because the government feels that innovation is intimately connected to being creative and thinking out of the box. I think they’re thinking of what makes the West tick and in an odd and ironic way to imitate – which is not exactly creative, but then again I have lot of respect for Asia and admire the work ethic of Asian people. So I think they will do well by addressing these themes. In 2015, we are off to Taipei and the theme (working title) there is “ImagiNation” and here we are trying to run a kind of “Skills-Festival” and platform creative businesses and the approaches that they have taken. It is a new approach and if you think about what Beuys said, “Everyone is an artists”, we might stretch it a bit and also say “everything is art.” At least this is the start and interestingly enough we are working with groups from the labor department in Taiwan, with knowledge transfer departments of universities, and with spin off and start up companies from Switzerland. It is very exciting and really what the DAW is about: creating a platform for research and experiments in social-cultural context.
Digital Art Weeks International
The DAW INTERNATIONAL’s is concerned in general with the bridge between the arts and sciences in cultural context with the application of digital technology in specific. Consisting of symposia, workshops and cultural events, the DAW program offers insight into current research and innovations in art and technology as well as illustrating resulting synergies, making artists aware of impulses in technology and scientists aware of the possibilities of application of technology in the arts.
The Virtuale Switzerland
The Virtuale Switzerland is a biennale for virtual arts. It focuses on the use of public space and mobile communication technologies, inventing “playful” new strategies to coax the public into the festival as “real” visitors with a unique experience of the virtual. The Virtuale Switzerland encompasses Artworks using Augmented Reality, Urban or Location Based Gaming, and Digital Heritage applications. It is interdisciplinary in nature, bridging areas such as art and technology, digital heritage and tourism, as well as digital culture and art mediation.
The end of boom and bust ended with the credit crunch. Following the global financial crisis of 2008, the Eurozone crisis has produced technocracy and poverty rather than democracy and wealth. Reactions to these failures of monetary policy are informed by technology as never before, from austerity being imposed thanks to an Excel spreadsheet bug to the rise of the anti-statist cryptographic currency of Bitcoin.
Against this backdrop of monetary failure and technological critique, _MON3Y AS AN 3RRROR | MON3Y.US is an ambitious online survey of net art depictions and critiques of money and its institutions curated by the pseudonymous curator “Vasily Zaitsev”. As well as the work from 70 or so artists invited to participate an open call for work increased the number of pieces in the show in total to around 200. I only consider the invited artists here, but the work in the open call section is well worth looking at as well.
The show web site has a simple HTML interface, starting with a single image and a pull-down menu of other works. Disable your pop-up blocker and you’re ready to start.
Miron Tee’s “Shame” is the image that fronts the show, an image of a dollar modified to show George Washington peering out nervously from behind the oval frame in the center.
Dominik Podsiadly’s “Joy to ide” starts the pull-down menu with a flowing grid of Euro signs on a blue background to the sound of “Ode To Joy” playing backwards. It’s an all-over, closed temporal loop of the kind that animated GIFs exemplify and encourage, the Euro falling forever.
Nuria Güell’s “How to expropriate money from the banks” is a more direct action based work of culture jamming explaining presented in a well laid out document in the style of HSBC’s First Direct brand.
Paolo Cirio’s “Loophole for All” makes offshore tax havens, those loopholes in taxation regimes that allow corporations and the super-rich to avoid repaying society, available to everyone through a web site interface.
Rafaël Rozendaal’s “Stagnation Means Decline” is a screenful of geometric pixel-art dollar bill stacks that fill the screen with their edges only to be obscured by new columns like an economic game of Life.
Filipe Matos’s “Crash” is an undulating animated monochrome concrete poetry American flag with the stars made from the letters of “me” and the stripes as “you”.
Adam Ferriss’s “paper$hredder” is a Vimeo video clip of American dollar bills speeding by faster and faster until they dissolve into a blur.
Aaron Koblin + Takashi Kawashima’s “Ten Thousand Cents” is a composite image of a hundred dollar bill crowdsourced by paying people a cent to paint each piece through Amazon’s Mechanical Turk service.
Maximilian Roganov’s “When the Mao was small, he worked for CIA” is a looped animated GIF colour 3D scan of a dollar bill, polygonally glitched or possibly crumpled over time.
Dave Greber’s “Self Portrait With Dog” video is aptly titled, apparently taking place as the custom graphic on a Visa Mastercard.
Agente Doble | UAFC’s “Watermark will not appear on purchased artwork” is a million dollar blank artwork if you email them and purchase it, otherwise it’s just a url on a blank web page.
JUST DO IT’s “Fifty Euros Inside/Fifty Euros Outside” are animated GIF loops of fifty Euro notes pulsating as if to sound waves on an oscilloscope.
Mitch Posada’s “$$$” is a Flash video of Silicon Graphics-era-style VR models of skeletons exploding and morphing into their constituent polygons while texture mapped with Deutschmarks.
Emilio Vavarella’s “Money Complex” is a tube map-style world map with banknote-collage continents and a key for numeric labels that can be zoomed in on by moving the mouse to reveal their often incongruous labels. It’s one of the more complex works in the show art historically and conceptually.
Lorna Mills & Yoshi Sodeoka’s “Money2” is a Vimeo video loop collage of roughly extracted elements from videos of commodity fetishism, fire and death.
Fabien Zocco’s “Cloud” is a generative composition of black dollar signs scattered up over a yellow background over time like a plume of smoke.
Jasper Elings’s “Territory” is an animated GIF loop of a dollar bill flag blowing in the roughly simulated wind on a white background. It’s not the only such piece in the show.
Robert B. Lisek’s “FuckinGooglExperiment” is online statistical analysis code that tries to correlate the change in Google’s stock price with changes in their PR strategy. It also uses the excellent Fluxus livecoding environment.
Alfredo Salazar Caro | TMVRTX’s “How to make money on internet remix” is a tightly tiled video loop of a rotating stack of dollar bills in a lava-lite-like flow of colour psychedelia.
Anthony Antonellis’s “How to make money on the internet” is simply that rendered block of spinning virtual hundred dollar bills, plucked from the era of RenderWare and VRML.
Gustavo Romano’s “Pieza Privada #1” is another piece of net art for sale at a specific price, with a carefully described contract and application form.
Tom Galle’s “One Million Dollars For iPhone” is an app available on the iTunes Store that allows you to count a virtual million dollar wad on your iPhone.
Geraldine Juarez’s “Love Not Money” tracks the associations of various words with “death”, “love” and “money”. I had to Google this one: it’s a Processing visualisation of a personal stock market tracking the artist’s conceptual assets over six weeks. I love it.
Nick Kegeyan’s “C.R.E.A.M. (Cash Romney Eat A Lot of Money)” is simple, direct and effective video burst of an American news interview subject morphing into a cloud of falling texture mapped dollar bills.
Dafna Ganani’s “Apple Dollar Explosion” is another descriptively titled piece, a Maya-looking apple texture mapped with a dollar bill spinning against a grey background then exploding into its constituent polygons.
Haydi Roket’s “$” takes a dollar bill portrait and literally deconstructs it by pixelating it in increasingly primitive ways, first as 4-bit grey patterns, then in monochrome ANSI characters, alternating to inverse video and changing the contrast to give a flickering effect.
Jennifer Chan’s “Infinite Debt” is a video of a twenty Euro not being dipped in batter and fried mixed in with a collage of clipart images and video on the cynical economics of contemporary art and consumerism.
Frère Reinert’s “Money as a waste of time” is a deliberate excercise in futility; a blurred, zoomed in silent video of the MacOS X SBOD on a white backdrop.
Cesar Escudero’s “Captura de pantalla 2013-03-08 a las 21.46.23” is a Mac OS X desktop image of a gas masked protester who appears to be reaching for a folder named “$$$$$$$”.
Jefta Hoekendijk’s “Money Is Data” is an animated GIF loop of a glitchily texture mapped virtual fifty Euro note in artificial colours.
V5MT’s “¥€$ or N0T” is a rap video or Designers republic album cover-style animation of monumental metal morphing currency symbols made from struts and spheres like newton’s cradles or molecular diagrams.
Addie Wagenknecht’s “How To Make $$$$$” is a grid of money counterfeiting video tutorials, which are apparently a genre. Playing all at the same time they become an all-over aesthetic rather than incitement to a crime.
Gusti Fink’s “infinite loop of money drowning in water oil” is a slow, monumental simulation of a platinum visa card sliding into dark liquid that the camera pans over as if it were a sinking ship.
Marco Cadioli’s “You are here” shows globe and landscape maps constructed of dollar bills, with a pin or map icon to show your place in the economy.
Keigo Hara’s “Making Of Fake Bills” is more halftoned (or possibly shape grammared) dollar bills.
Jan Robert Leegte’s “Currency Graph” shows European flag yellow bars over a European flag blue gradient background. It’s a mutated and abstracted evocation of news information graphics aesthetics in CSS and JavaScript.
Ellectra Radikal’s “Disolved €uro” is a flickering autotraced, find edged and glitched animated zoom into a hundred Euro note that renders it spatial and architectural.
Paul Hertz’s “5,000,000$” it the purest glitch art piece in the show, rows of corrupted and miscoloured banknote imagery that looks like nothing so much as classic street art.
Aoto Oouchi’s “It’s all good” is an uncanny New Aesthetic 3d rendering of liquid or possibly mirrored texture mapped banknotes pouring from a wall.
Kim Laughton’s “Landscape” is a rendered and collaged landscape of banknotes, resembling nineteenth century engravings of dramatic landscapes thanks to the inconography and texture of its source material.
Andrey Keske’s “Tell Me What You Want” is a search engine-style text box prompt that shows the economic coercion inherent in neoliberal use of technology by only allowing you to finish one word beginning with “M”.
A Bill Miller’s “3xpl0d3m0n3y” combines a grainy analogue glitch aesthetic explosion of a dollar bill into waveform stripes into a black space of drifting Matrix-green dollar signs.
Martin Kohout’s “Watching $100 Note Unveiling Video” has a ChatRoulette look, with the unseen unveiling causing a small smile to break out on the depicted viewer’s otherwise affectless face.
Marc Stumpel’s “pH0r 7|-|3 L0\/3 0Ph /\/\0|\|3’/” is a glitched and colourised monochrome television popular music performance from the age of mass media. Again I had to Google it but the song is ‘For the love of money’ by The O’Jays.
Benjamin Berg’s “$(0x24)” (the hexadecimal number that represents the dollar sign in ASCII) is a colourful and stripy glitch animation that resembles test cards, 8 and 16 bit graphics, and even woodcut as it breaks down.
LaTurbo Avedon’s “$$$$$$$$$$$$$$$$$$$$$” is an ambient modern html5 animtion of the avatar-artist reclining on money texture-mapped couches floating up and down a Google image search page for the word “millions”.
Nicolas Sassoon’s “BILL” is a flickering green screen terminal or slow scan TV-style rendering of a 500 Euro note that plays with the visual language of digital images: the letters and stars are highly pixellated but the backdrop to them is a smooth gradient.
Curt Cloninger’s “i want KANDY” loops images of a dancing sniper camouflaged figure montaged with dollar bills and fruit over a more slowly changing background collage of the american flag, a dollar bill, and fruit making a post MTV-styleguide image of the military-economic-entertainment complex.
Systaime’s “ʞooqǝɔɐɟ Dollars” video portrays a world where curvily rendered dollar bills rain over an amateur video of tourists at a beach with a sky of quickly cycling Facebook pages.
Erica Lapadat-Janzen’s “Money Troubles” is a PhotoShop Pop Dada montage of exploitatively normative female beauty and monetary and drug excess that subverts the imagery of the fashion pages.
Milos Rajkovic’s “Mind Wheel” is a wonderfully Gilliamesque collaged animation depicting a mental wage labourer.
Émilie Brout & Maxime Marion’s “Cutting Grass” depicts the pointless and trivial labour that video games such as “The Legend Of Zelda force players to engage in for unrealistic rewards such as gold coins and rubies so they can get on with their quest.
Rozita Fogelman’s “From Oakland w/Love” is a point-and-click kaleidoscopic archtitectural portrait of gentrified Bay Area architecture.
Georges Jacotey’s “am I enough political now” is a Chatroulettish video selfie of an augmented reality Euro flag and symbol drawing and dancing session.
Δεριζαματζορ Προμπλεμ Ιναυστραλια’s “Major Problem” is a rendering of a stack of dollar bills as seen through heat haze or under water, rippling and undulating against a white background.
Lars Hulst’s “0 €uro” is a rendering of a zero Euro note.
Nick Briz’s “a return to secularism” is a video documentary of twenty dollar bills being printed with the words “a return to secularism” flashing over it, framed by a repeated loop of the words “in God we trust” being crossed out on a dollar bill where they were added in the 1950s.
Jon Cates’s “MØN3¥-Δ$-3ɌɌɌØɌ” is a Classic Mac monochrome bitmap or fax aesthetic PDF essay for the show and an exposure of the print on demand economics of that essay in the same style.
León David Cobo’s “Conversation With Machine” has a 1990s broadcast graphic feel, showing the soundwaves of the feedback of a conversation with Siri asking it for money in Euro blue and yellow.
Guayayo Coco’s “Money | GLıɫcʜ ᴬᴺᴰ GLıɫɫɛʀ” is a video of a journey through a VRML-style virtual environment of discrete polygonal objects texture mapped with dollar bills, corporate logos and more abstract patterns with a radio channel-surfing soundtrack.
Vince Mckelvie’s “MONEY” is a reactive interactive deconstruction of a hundred dollar bill into a grid that reacts to the viewers’ mouse movement, revealing pulsating colours behind. It’s a good example of how suitable html5 is for this kind of thing.
Ciro Múseres’s “YOU HAVE WON” is a classic net.art style HTML bomb of overlaid text and links with content from financial web sites such as Barclays, Halifax and Santander that continuously adds and removes layers in different shades red, black, blue and green text to make new compositions.
Adam Braffman’s “Money Loading” is an animated GIF of the frame of a 100 dollar bill with a “Loading…” speech bubble in the centre. It makes the show’s themes of absent and delayed wealth more obviously explicit.
Rollin Leonard’s “Portrait of a NetArtist” is an two-frame animated GIF of the artist naked in the bath with bundles of fake hundred dollar bills with which they are lighting their cigar.
Thomas Cheneseau’s “100€ sequence” is a grid of glitched sections of a hundred Euro note that moires with colour as you scroll it. There’s a link to the facebook album that constitutes the actual work, and it works much better as a clickable album than as a static single image.
Yemima Fink’s “This is not money” is an abstract postmodernist collage of graphical quotations from the counterfeit-resisting elements of banknotes that is both witty and a very effective defamiliarisation of the iconography of banknotes and the power that they represent.
Mathieu St-Pierre’s “Untitiled” is a glitched jpeg of a dollar bill that in its straightforward application of glitch aesthetics makes the most direct link between them and the economic “glitch” of 2008.
Kamilia Kard’s “Amazon VIP girls” is the lone tumblr in the show, with an aesthetic that is either post-internet or pre-Google depending on how old you are applied to the supposedly perfect clothing models used by web sites.
José Irion Neto’s “Untitled” is a glitched banknote that turns JPEG artefacts into Klimt patterns.
There are definite historical trends and formal themes within the included work. Polygonal, texture-mapped, 90s-style VR-style objects that spin or explode. Net art and functional web sites that track or create financial and legal entities and transactions. Looped animations of textures, rendered flags, or video detournements. The imagery of accumulation, consumption, and destruction, always ironically. Imagery and symbols presented in simple loops fast or slow for contemplation. Graphs and maps of real and imagined economic signifiers.
In terms of genre, _MON3Y AS AN 3RRROR | MON3Y.US includes classic VR and video art, more modern GIF loops, textual and institutional net.art, glitch art, even some New Aesthetic. The language of computer graphics, texture mapping and polygons, allows the imagery of banknotes to be defamiliarised and deconstructed. Less often, personal experience and iconography displace the cultural imagery of wealth, consumption and debt.
This historical, formal and genre coverage of the variety of artworks included in the show comprehensively illustrates the chosen theme of “money and error”. This creates its own genre and lineage for the included artworks, which gain by comparison to their newly identified peers. They also contribute to the social and economic critique of the show. It’s a very successful balancing act, which the simple interface and presentational strategy of the show’s curation are key to achieving.
_MON3Y AS AN 3RRROR | MON3Y.US is an almost overwhelmingly successful in its comprehensive review of net art’s critical depiction of and engagement with money. By taking a technologically simple but historically, conceptually and logistically ambitious approach to net.curation for net.art it demonstrates the effectiveness and lasting value of net art’s contributions in this area and the power of online thematic curation to draw together and contextualise this value without giving in to the often perceived need for offline institutional underwriting.
Featured image: Sam Meech, Punchcard Economy, 2013. Photo courtesy of FACT.
The new exhibition “Time & Motion” at FACT in Liverpool, UK, takes the pulse of punchcard protocol and creative capital in our own “Modern Times”.
The exhibition Time & Motion: Redefining Working Life at FACT Liverpool is a collaboration between FACT and the Creative Exchange at the Royal College of Art – an initiative which looks at how arts and humanities researchers can work with industry to effect digital innovation. Rachel Falconer reviews the exhibition in the context of the paradoxical dynamics of cognitive capital and the changing landscape of the labour market.
Now self-employed,
Concerned (but powerless),
An empowered and informed member of society
(Pragmatism not idealism),
Will not cry in public,
Less chance of illness,
Tires that grip in the wet
(Shot of baby strapped in back seat),
A good memory,
Still cries at a good film,
Still kisses with saliva,
No longer empty and frantic like a cat tied to a stick,
That’s driven into frozen winter shit
(The ability to laugh at weakness),
Calm,
Fitter,
Healthier and more productive
A pig in a cage on antibiotics.
Fitter Happier, Radiohead.
The frantic quest for the elusive Shangri-La of work/life balance is a neurotic luxury afforded only to the always-on, hyper-connected generation of precariously unstable home office workers[1] in our hypercapitalist society. The working rhythms of this emergent class of “precariat” [2] are far removed from the forensically prescribed scientific management resulting from the time and motion studies associated with Taylorism at the beginning of the last century. This shift in working patterns generated by the digital revolution is the primary focus of the exhibition Time and Motion, Redefining Working Life currently at FACT, Liverpool. From an archival, filmic view of the automated, (Western) industrial factory labourer to contemporary portraits of the global information worker’s state of perpetual imbalance and non-stop, hyper-connectedness [3] the participating artists expose the – often contradictory – ecologies of labour, consumption, and the conditions in which they operate. The exhibition also marks the collaboration between FACT and Creative Exchange at the Royal College of Art – an initiative which looks at how arts and humanities researchers can work with industry to effect digital innovation and confront contemporary modes of production.
Taking the archival stimulus of time and motion measurement as its title and industrial work patterns as a starting point, the exhibition Time & Motion is the latest in a series of exhibitions and symposia addressing immaterial labour and new working patterns in the age of globalisation and creative capital.[4] Rather than following the well-trodden path of casting the figure of the artist as digital labourer, or attempting to portray an expansive, post-colonial view of nomadic, labouring diasporas, Time and Motion reflects a more subversive and fragmented approach to the politics of work, rest and play in the global information economy.
Sam Meech’s Punchcard Economy is at once a homage to the textile industry and a recognition of the contemporary precariat. With more than a symbolic nod to northern England’s textile heritage, Punchcard Economy consists of a machine-knitted reinterpretation of the Robert Owen’s 8-8-8 ideal work/life balance.[5] The piece was produced on a domestic knitting machine using a combination of digital imaging tools and traditional punchcard systems. During a residency at FACT last year, Meech collected punchcards from visitors detailing their working hours. This data was then translated into a knitting pattern which was used to generate the final work – a banner depicting the contemporary working day. Any hours worked outside the eight-hour day appear as a glitch within the fabric. This banner – historically a symbol of the working class and trade unions – also denotes the fragmentation and blurring of national class structures in the era of globalisation.
The move towards a flexible, open labour market has not eroded the class system completely, but a more fragmented global class struggle has emerged. The “working class”, “workers”, “proletariat” are terms that have been embedded in our (Western) culture for centuries, and used as badges of honour by some, and terms of derision by others. By incorporating a large cross-section of working society under one banner, Meech has literally – in stitching different socio-economic groups together into the very fabric of the working day – rendered the once potent archaic class signifiers as little more than evocative labels.[6]
“75 Watt” by artist Cohen Van Balen and choreographer Alexander Whitley also riffs on the trope of the long fought for 8 hour working day. Deriving its title from a quote from Marks’ Standard Handbook for Mechanical Engineers: “A labourer over the course of an 8-hour day can sustain an average output of about 75 watts”, the film is a subversive ballet of the complex and often skewed relationships between production, consumption and distribution in the post-industrial age. The film features a group of Chinese labourers working an assembly line, (playing on the stereotypical “Made in China” trope). The object they produce, however, has no logical use. The purpose of the exercise is simply to choreograph the combined movements performed by the labourers in the manufacturing process. The work examines the nature of mass-manufacturing on differnt levels; from the geo-political context of hyper-fragmented labour to the bio-political condition of the human body on the assembly line. Echoing the Taylorist ideal, here we see engineering logic taken to its conceptual extreme; through the scientific management of every single movement we witness the passage of factory labourer to a man-machine.
By shifting the purpose of the labourer’s actions from the efficient production of objects to the performance of choreographed acts, mechanical movement is reinterpreted into dance. The artists ask: “What is the value of this artefact that only exists to support the performance of its own creation? And as the product dictates the movement, does it become the subject, rendering the worker the object”?
This operatic construction line also points towards the ultimate failure of scientific management. Taylorism was always dictated by the needs of capitalist exploitation, but in its pure form it proved to be inefficient in drawing on workers’ talent and potential. In time the bourgeoisie recognised the inadequacies in Taylorism, and Taylorist methodology was mostly withdrawn by the 1930s. However, this was not the end of time and motion measurement. More recent management theories include Theory X and Theory Y introduced by Douglas McGregor in the 1960s.[7] Contemporary Taylorism takes the form of the Lean practices introduced into major departments of the British civil service (including HMRC, DWP, MOJ, and MOD). Workers incorporate “efficiency savings” as an integral part of their job, and work priorities are monitored by the soft panoptic gaze of non-hierarchical “collaborative practice”. Here,workers time their work processes, identify forms of waste, and propose changes in work practices. This “bottom-up” approach goes hand in hand with the new language of management – as managers morph into “leaders”. As efficiency savings are made from workers’ suggestions, the “leaders” try to enforce impossible targets, and decide whose post is next to be eliminated – hence the creation of the precariat. As part of the precariousness of employment, workers not only worry about losing their jobs, but also have to propose measures which, in the name of efficiency, might put them out of work. Added to this the increasing automation of work and the burgeoning AI scene, where does human cognition stand in all of this?
Inari Wishiki’s set of ludicrious alternative employment models (such as Banana Multiplier), are in reminiscent of the subversive, performative models of the Fluxus movement. Inari’s online work Recruit Agency for People Who Don’t Want To Work dramatizes this staging of an alternative labour market. The website includes documentation of a series of performances by the artist exploring the premise that with the proliferation and development of technology, we as humans have lost our place in the world of work, and yet still need to appear to be “useful” in order to earn a living.
Recruit Agency For People Who Don’t Want To Work is a set of systems which allow people to engage in the act of commerce while abandoning “all the meaningless rituals of having to be useful in order to earn money”. In INARI TRADING CARD, the artist documents the way in which “essential” workers function as a social infrastructure. He observes that “money was naturally following those workers according to their essential motions, unlike that of workers who seek after money”. These set of performances are an ironic counterpoint to the hyper-efficiency promoted by neo-Taylorism, and point towards the informal norms that are in tension with the industrial time norms still permeating social analysis, legislation and policymaking in the globalization era.
In his text “The Value of Time Spent” in the accompanying catalogue to the exhibition, Mike Stubbs supports this strategy of “design for disassembly” and novel values of exchange. Stubbs maintains that these alternative ecologies of exchange are necessary in order to allow us to question how we spend our time, and for us to lay bare the new patterns of professional fulfilment and social relations inherent to our hyper-mediated society.
The classic distinction between the workplace and the home was forged in the industrial age, and when today’s labour market regulations, labour law and social security systems were constructed, the norm was a fixed workplace. This model has now fragmented and crumbled and the term social factory, popularized by Tiziana Terranova and others, is applied to describe this shift “from a society where production takes place predominantly in the closed site of the factory to one where it is the whole of society that it is turned into a factory – a productive site”.[8] The production is one of value, where the collective efforts of intelligence and creativity are networked, controlled and exploited. Labour takes place everywhere, and the discipline or control over labour is universally exercised. But policies are still based on a presumption that it makes sense to draw sharp distinctions between the workplace and home – and between workplace and public space. In a tertiary market society, this model is obsolete, leaving the information worker increasingly pressurized and isolated.
One of the recurring themes in Time & Motion is this hybrid and compromised locus and infrastructure of the work place. Harun Faroki’s moving image work A New Product presents an insider’s view of the paradoxical construction of so called “fluid” working environments. He describes his new film as: “Scenes from meetings within a company which advises corporations how to design their offices — and the work done there. The film shows that words are not just tools, they have become an object of speculation.” In this work, he stages the brainstorming sessions of a business consultancy specialising in the design of workspaces, offices and new concepts for mobile work hubs. The resulting seductive imagery of the ideal workspace is an exercise in brand development pastiche rendered as pseudo video game.
Time & Motion also stages a co-working space, developed by the RCA CX team, which weaves together venue, audience, workspace and digital space – presenting the entrance space of the gallery space into a live research ‘lab’. Visitors are encouraged to participate in the research, interaction and interventions, and workshops, salon discussions, and hacking and making sessions are woven into the experimental fabric of the exhibition.
The ‘CX Co-Working Space’ features three design interventions. The first, Hybrid Lives, features video work by Karen Ingham and an interactive installation responding to data traffic, dressed with ‘co-working furniture’. Where Do You Go To? is a wall-mounted moving freize showing the output from an app, co-designed with a group from the BBC, with the mission to connect remote workers through exchanging, Snap-chat-like (pre-hack) images of desks and workspaces. According to Ben Dalton, one of the main developers, this sharing of ‘desk context’ helps form a synergy of ‘headspace’ between remote workers.
Taking its cue from Frances Cairncross’s 1995 “The Death of Distance”, where the compelling vision that, over time, the communications revolution would release us from geographic locations, the project illustrates how digital space has redefined our working lives. However, for all its good intentions, this gesture towards remote solidarity seems to be muddying the new principles and rhythms of work with Taylorist and later Fordist ideals of panoptic surveillance and somehow stands in direct opposition to the emancipatory rhetoric of convergence culture.
Time and Motion focuses primarily on a particular demographic of labourer (generally the global information worker), and paints the picture of a tertiary lifestyle which involves multitasking without control over a narrative of time use, and habitual fractured thinking – where non-stop interactivity (a digital version of Taylorist motion) is crack cocaine for the drones. For this category of workers, the workplace is everyplace – diffuse, unfamiliar, a zone of insecurity. We are left with a “thin democracy” in which people are disengaged from political activity except when jolted into consciousness by a shocking event or celebrity meltdown witnessed virally on Youtube during office hours. As more work and labour takes place outside the pre-determined workplace – in the hybrid environments of cafes, trains and across the domestic landscape – the very idea of a work/life balance seems like an alien ideal to aspire to.In an open tertiary society, the industrial model of time, and the bureaucratic time management of factories and office blocks, breaks down. There is no stable time structure and we are increasingly losing our grip on our own time. Time and Motion at FACT interrogates the impact of this fragmentation on the aesthetic forms of contemporary art, and contemplates how artists might offer a critique of our neo-Taylorist predicament.
Read and learn how to solve a Rubiks Cube with the layer-by-layer method. It can be learned in an hour.
Featured image: Screenshot of Apodemy by Katerina Athanasopoulou
Eva Kekou interviews Katerina Athanasopoulou about her film Apodemy commissioned by The Onassis Cultural Center on the theme of Emigration for Visual Dialogues 2012, and her hybrid art practice of live action, animation and film. In 2013 Athanasoppulou won the Lumen Prize, described by the Guardian as “The World’s Pre-eminent Digital Art Prize”. She works as an Animation Director, collaborates with other artists and companies, and is an Animation Lecturer at the London College of Communication.
What is your background and what brought you to London?
I studied Painting at the School of Fine Arts of Aristotle University in Thessaloniki. My work involved large canvases painted in a serendipitous way, building layers, erasing and restarting, seeing where my lines were going to take me. I was frustrated by the stillness of the final piece, longing to recreate the gesture in time that had created it. At the same time, I was passionate for cinema and animation so I tried it out in my own computer at home. In a way, I discovered animation for myself, as there was no film nor digital element in my course. That meant that there was no right and wrong way to go and it was such a joy to be producing moving images, to be able to finally paint in time! My first films were digital cutouts and manipulated live action. The big change came when I arrived in London in 2000 to do an Animation MA at the RCA, where suddenly completely new creative possibilities appeared. Short film festivals were also a source of great inspiration, places to meet like-minded filmmakers and watch films all day long.
What’s the effect of English education in your work and in the way you appreciate art?
When I became a student in the UK, I was at the same time delighted and terrified by the informality of the teacher-student relationship, like addressing your tutor by their first name. I was really impressed by the enthusiasm for research and for the creative journey itself. Process becomes a major part of the work and that frees you from concentrating only on the outcome. I saw how Animation can be enlisted in very different ways, from a more commercial manner to very left-field experimental practices so that was an exciting new point of view for me. At the same time, the early 2000s were a time of conflict between analogue and digital practices – which of course has not quite gone. As an educator myself, I love the intensity of the way that students debate their work, so the English system of education still very much inspires me.
What was your creative practice up to the Lumen Prize.
Since 2002 I have been making short experimental films that have been screened in film festivals and galleries, my process being one of playfulness and embracing chance. I like to try out different ways of creating moving images, and I try to make each film follow a different road, even though it’s very tempting – and at times fruitful – to revisit old concepts. In the last three years I have developed a big interest in Architecture and how that can be depicted in time, through 3D, 2D and live action. Animation for me is Alchemy, I combine elements together, in textured space and time and see what happens. These experiments some times involve diving into live action that I have captured on location, and other times are about creating that space digitally.
Animation Installation is a field I’m fascinated by at the moment, devising ways of materialising the digital element, of making it even more about light and shadow. My latest film, Triptych 1, was made especially for the facade of the Museum of Contemporary Art in Zagreb and reimagines it as built of interconnecting corridors.
Talk to us about the theoretical and philosophical background of Apodemy.
Apodemy was commissioned by the Onassis Foundation (Stegi) on the theme of Emigration and the Economic Crisis. It was to be part of an Art Show in an old archaeological park in Athens, called Plato’s Academy Park, where the philosopher is believed to have taught. The title of the Installation was Visual Dialogues so I was drawn to Plato’s Dialogues where I discovered the metaphor of the human soul as a birdcage. I was very keen to instil in the work philosophical elements related to the space itself. With migratory birds being one of my initial ideas about the piece, the solution of a travelling birdcage in an abandoned half-finished city became apparent. The marble arms were part of Plato’s birdcage metaphor, where he describes how, as we grow up we fill our mind/birdcage with ideas/birds. When we need to recall something, we put our hand in the cage and grab a bird. I imagined those hands to be aggressive, so they became statue fragments carried by cranes that eventually mar the trolley cage’s journey. Theo Aggelopoulos inspired me with his images of a Lenin statue traversing the river and of a single arm, floating accusingly yet innocently. In times of political upheaval we like to break down our past heroes, in an attempt to cleanse ourselves of mistakes. Only that sometimes those past leaders still come back to haunt us.
What techniques did you use?
I designed the city on the computer in 3D and then started to drive cameras inside it, discovering it on the road, like I was exploring a real landscape. The film was built like a documentary, following the migration journey of a cage that is also a trolleybus, the yellow kind that I was riding in Athens when – in the late nineties – everything was promising.The construction industry ground to a halt when the crisis took hold so, today, many buildings remain unfinished and look like birdcages themselves. After the City was built, I started making the birds and the bus. Then I moved it inside the city, following a broken road which eventually leads to the fall. The entire film developed through trial and error, it was my first 3D film and I had limited time and resources. But restriction breeds creativity and, in the two months that I had to complete it, I tried to make a film designed in a minimal but impactful way.
What does the Lumen Prize mean to you and how can such a recognition make a difference in your work and life?
Winning the Lumen Prize was a great honour, especially amongst so many great works from entirely different platforms. The prize revolves around fine digital art and encompasses film, installations, interactive work, print, sculpture, collage. Amongst such a plethora of forms, it meant a lot that Apodemy was awarded, both in terms of my digital animation practice, but also as it’s a film that’s about the collapse of my country of origin. The Lumen Prize show has already been to New York and will also be part of the Digital Symposium at Chelsea College of Art and Design in March, as well as in Hong Kong in June. It’s wonderful that Lumen is propelling the film further forwards, and it’s been great to meet some of the other artists involved. Seeing the works by Nicolas Feldmyer, Kalos&Klio, Margarita Koulikourdi, Vasileios Chlorokostas and others has been very inspiring.
What draws you to animation?
Through cinema, we immerse ourselves in different waters, achieving a kind of immortality. One could argue that also happens whilst reading, or listening to music – yet somehow film combines literature and poetry and music too and almost all the senses get involved. What’s more interesting for me is the connection between moving image and the imagined: it’s almost like we dream other people’s visions and we physically try to make that disconnection from reality by favouring watching films in dark rooms. The cinema I’m interested in is one of spectacle, that transforms reality into a surreal play, that explores light and shadow and looks for monsters under the bed. At the same time, I’m currently very curious about taking animation off the screen and applying it in space, by projecting rooms, objects, corners. For me, there’s no greater magic than instilling life in the inanimate and create moving worlds that don’t depend on cameras and actors – what’s in your head can be made real, a real that’s still beautifully elusive and chimeric, that doesn’t contain all the answers but asks exciting questions.
What are your future plans?
I have been working on an experimental narrative of an obsessive mother that cocoons her children, which may work as a single screen work or perhaps as an installation that includes a film. I’m also researching the Architecture of Melancholy, which lies somewhere between cabinets of curiosities and abandoned homes. I always have several experiments on the go, it’s really about finding the right time and opportunity to commit to a project. As delightful as animation is, it takes time to complete, but it also means that ideas may have time to mature and not be rushed. As long as my ideas keep me entangled, I’m happy.
See Katerina Athanasopoulou’s work online at kineticat.co.uk
Marc Garrett reviews Stefan Szczelkun’s book Agit Disco. He is an artist and author interested in culture and democracy. In the early Seventies he was fortunate to be part of the Scratch Orchestra and has since been involved with a series of artists collectives. His doctoral research into the Exploding Cinema collective was completed at the RCA in 2002. Recently his collaborative project Agit Disco was published as a Mute book in 2012. He has been on the Mute magazine editorial board since 2009, and currently working on photographic and performance projects.
“Just cause we can’t see the bars
Don’t mean we ain’t in prison.”
Kate Tempest (2009) [1]
The subtle and not so subtle domination by market interests of cultural production and dialogue denies us all access to a wide spectrum of creative expression, especially those that engage in subjects that conflict with the agendas of those in power. Agit Disco by Stefan Szczelkun combats this contemporary trend by focusing on music, politics, DIY culture, and freedom of expression. In doing so he starts to redress the lack of representation across the board for those in grass roots culture and working class lives, whose freedoms to have a voice in society are so commonly restricted.
The future does not look good for those who value cultural and social diversity; who look for a variety of activist histories and experiences to be seen and represented on their own terms. The UK government is changing university regulations so that private companies can become universities. This means tutors will end up replacing educational courses once devised with the public good in mind with modules designed for maximum profit. Luke Martell, a critic of the marketisation and privatisation of education and lecturer of Sociology at the University of Sussex, says “This will lead to a different content to education. Critical thinking is being replaced by conformity to cash. Money-spinning management and business courses are expanding and lower-income adult education is being closed down.” [2] (Martell 2013) Already, most researchers, academics and those in professional fields of practice mainly work within insider frameworks, “there is a qualitative difference between the conditions of people living in marginalized communities and those in middle-class suburbia.” [3] (Smith 2012)
The knock on effect of an unquestioning culture of compliance with the ‘free market’ is enormous. How ironic it is that the term ‘free market’ is attributed with so much value and (a presumed) logic when in actuality it constrains people’s freedoms and makes those who are already rich even richer. Because the politicians are not effected by the results personally, and because it also serves their interests, they have handed over their social responsibilities to these market systems. The neoliberal defaults that caused the financial crisis are untouched by our democratic processes. These out of reach, distant power systems are fixed towards property bias and occupy and govern our everyday experiences. How does freedom of expression fit into this and on whose terms?
“The more our physical and online experiences and spaces are occupied by the state and corporations rather than people’s own rooted needs, the more we become tied up in situations that reflect officially prescribed contexts, and not our own.”[4] (Garrett 2013)
Agit Disco offers a breath of fresh air, in the fug of the developing marketisation of everything. It presents grounded examples of difference that contrast with the dominating view of entertainment systems. Published through Mute Books in 2012, it features 23 playlists put forward by 23 different writers, artist and activists. It began as a set of mixed CDs and images, each chapter includes annotations and illustrations. Its contributors are Sian Addicott, Louise Carolin, Peter Conlin, Mel Croucher, Martin Dixon, John Eden, Sarah Falloon, Simon Ford, Peter Haining, Stewart Home, Tom Jennings, DJ Krautpleaser, Roger McKinley, Micheline Mason, Tracey Moberly, Luca Paci, Room 13 – Lochyside Scotland, Howard Slater, Johnny Spencer, Stefan Szczelkun, Andy T, Neil Transpontine, and Tom Vague.
Mostly from working class backgrounds the contributors were invited to focus on politics and music, and share memories relating to what the tunes meant to them at the time. In the preface Szczelkun states, his selection of contributors comes from his own worldview and personal contacts. Anthony Iles, in his introduction says most who have contributed “are closely associated with anti-authoritarian politics and DIY culture.”[5] (Iles 2012) Contributors offer insights into the connections between their music and the politics of the time. Louise Carolin says, “When I was a teenager in the ‘80s I lived through one of the golden ages of British chart pop, listening to music that was by turns, political, danceable, challenging and entertaining. I attended CND rallies, marched against South African Apartheid, ran the feminist group at school and went to GLC-funded music festivals.”[6] (Carolin 2011)
What adds depth to Louise’s story, as with the rest of the contributions is that many readers feel connected with these histories, and I am one of them. It highlights an indigenous, working class culture and their personal struggles in a period when neoliberalism was in its early stages of world domination. To say that these are merely anecdotal or subjective would completely miss the point. It calls for an awareness and understanding about people giving an account for themselves in relation to music, politics and their social contexts on their own terms.
Just as it is important to ask contextual and critical questions of why a particular artwork is being shown at a certain venue or seen in an art magazine. It is also necessary to observe who published Agit Disco and why? It is no coincidence that it’s a Mute publication, Szczelkun has been on its editorial board since 2009, and has written various articles, reviews and interviews for Mute.
Agit Disco resonates with Mute’s dedication to DIY culture. Indeed, Mute has an excellent history in independent publishing alongside its DIY methods of production. Mute’s earliest incarnation used Financial Times’ pink paper, broadsheet printing cast offs. Later on a traditional magazine format. From 2005 onwards it moved onto its online site, and developed a publishing platform that allowed the publication of its POD (Print On Demand) magazine. [7] The design and production of Mute and its platforms have come a long way enabling a pamphlet-like production and distribution, echoing Thomas Paine’s own DIY releases of the Rights of Man.[8]
DIY Culture (and its distribution channels) offer a vital alternative to mainstream frameworks and their dominating hegemonies as a way to route around the restrictions to content, freedom of thought and free exchange. We have to contend with networked surveillance strategies initiated by corporations and state secret services. Censorship exists in many forms and recently there has been a rise of self censorship by workers and academics worried about losing their jobs if bosses see their interactions on Facebook or similar Web 2.0 social networks.[9] And the worrying antics of Britain’s GCHQ, in collaboration with America’s National Security Agency (NSA), targeting organisations such as the United Nations development programme, the UN’s children’s charity Unicef [10] reveal a greater investment in the surveillance of everyone, and the downgrading of privacy and fundamental human rights.
The credo that Anyone Can Do It reached a mass of individuals and groups not content with their assigned cultural roles as disaffected consumers watching the world go by. Like the Situationists, Punk was not merely reflecting or reinterpreting the world it was also about transforming it at an everyday level. Sadie Plant states that with the “emergence of punk in the late 70s […] lay the possibility of a threatening political response to the vacant superficiality of contemporary society.” [11] From this, a whole generation of diverse artists emerged; and through their practices they critiqued the very society they lived in, questioning authority and the authenticity of established politics, language, art, history, music and film.
Has the process of appropriating people’s civilian personas, and then replacing their social contexts with a corporate role as consumer created a more selfish world, lacking compassion for others and less interest for societal and ethical change? Ubermorgan discussed in a recent interview with Stevphen Shukaitis that people are in a state of ‘mediality’. “What we refer to as reality very often is just mediality, and also because that’s how human nature often prefers to observe reality, you know, via some media.” [12] Perhaps our constant interactions through different interfaces of proprietorial frameworks distances ourselves to what is important. In the 21st Century demonstrations and civil disobedience are policed intensively, and even though much of contemporary activism exists on-line. The frontline, or the heart of politics is still mainly a physical matter; it is still in our streets, our homes, our bodies, in our neighbourhoods and communities.
As Oxblood Ruffin a Canadian hacker and member of the hacker group Cult of the Dead Cow (cDc) and the founder/director of Hacktivismo, said “I know from personal experience that there is a big difference between street and on-line protest. I have been chased down the street by a baton-wielding police officer on horseback. Believe me, it takes a lot less courage to sit in front of the computer.” [13]
So Agit Disco reminds us that music is a vital way of both bringing people together in a space, story telling and communicating with each other, sharing what is happening with people’s lives. It is usually at the moment of censorship that we then realise how essential this freedom of expression stuff really is. For instance, nine months after Islamic militants had taken over in northern Mali they announced that all music is banned. “It’s hard to imagine, in a country that produced such internationally renowned music as Ali Farka Touré’s blues, Rokia Traoré’s soulful vocals and the Afro-pop traditions of Salif Keita. […] The armed militants sent death threats to local musicians; many were forced into exile. Live music venues were shut down, and militants set fire to guitars and drum kits. The world famous Festival in the Desert was moved to Burkina Faso, and then postponed because of the security risk.” [14] (Fernandes 2013)
In her article The Mixtape of the Revolution, Fernandes says that in Africa many rappers are “speaking boldly and openly about a political reality that was not being otherwise acknowledged, rappers hit a nerve, and their music served as a call to arms for the budding protest movements.”[15] Regarding Egypt, the rapper Mohamed el Deeb in an interview with Fernandes said, “shallow pop music and love songs got heavy airplay on the radio, but when the revolution broke out, people woke up and refused to accept shallow music with no substance.” [16] Music, politics and grass roots dissent are concrete expressions and an essential part of our collective freedoms. Alongside this, independent publishing as an alternative voice to the marketed franchises that dominate our gaze, sight, ears and minds, are needed more than ever. Yet, independent voices are being silenced and whittled down by wars, oppression and the neoliberal created financial crisis and its resulting austerity cuts.
What is to become of us if we lose our skills of discernment and slump into a homogenous consumer class, to define ourselves solely through marketed stereotypes and ideologies?
Agit Disco offers a festival of dance and dialogue for independent minded individuals and groups around the upturned burning car in the barricade against the coming zombie apocalypse.
It has been fun listening to all of the playlist contributions provided in Agit Disco. Below is my own Agit Disco playlist. You are welcome to add your own playlist in the comments section below (with links)…
Damien Dempsey – ‘Dublin Town’ (2000)
http://www.youtube.com/watch?v=brhO8pqTNHU
Asian Dub Foundation – ‘Modern Apprentice’ (2000)
http://www.youtube.com/watch?v=zgtWhjaOgQ4
Dan Le Sac & Scroobius Pip – ‘Great Britain’ (2010)
http://www.youtube.com/watch?v=YeV2cExvnMI
Kirsty MacColl – ‘Fifteen Minutes’ (2005)
http://www.youtube.com/watch?v=MSQrH3JUQ2s
Jeffrey Lewis – ‘Do They Owe Us A Living?’ (2007)
http://www.youtube.com/watch?v=jWU-W0SzVE0
The Pop Group – ‘Forces of oppression’ (1979)
http://www.youtube.com/watch?v=Txzmbu6o-gg
Kieron Means – ‘I Worry For This World’ (2005)
https://play.spotify.com/track/6AI2QujkrP6B2nfIUK55lY
Robyn Archer – ‘Ballad on Approving of the World’ (1984)
https://play.spotify.com/album/3hNQY8q9sO3M0R6es2d3ka
Robyn Hitchcock – ‘Point it at Gran’ (1986)
http://www.youtube.com/watch?v=_HFkimK9FAU
Sound of Rum – ‘End Times’ (2011)
http://www.youtube.com/watch?v=9dWPe7Au68A
Silver bullet – ’20 Seconds to comply (final conflict)’ (1990)
http://www.youtube.com/watch?v=24b6pYGT9MM
Maze – ‘Color Blind (Featuring Frankie Beverly)’ (1977)
http://www.youtube.com/watch?v=COY4gKLwV2I
Akala – ‘Bullshit’ (2006)
http://www.youtube.com/watch?v=mxpxpQ7j8Sg
Sarah Jones – ‘Your Revolution’ DJ Vadim (2000)
http://www.youtube.com/watch?v=E62SZ1CmBOI
Julian Cope – ‘Soldier Blue’ (1991)
http://www.youtube.com/watch?v=8dGOr-JpOmI
June Tabor – ‘A place called England’ (2009)
https://play.spotify.com/track/3YB6sSlLfB8kmMrrm5COKX
“It emerged from the forest behind the Collins house one evening in May and zeroed in on Sandy, the family’s 50-pound Labrador mix. As two of Collins’ children watched from the doorway, the cougar chased Sandy around the house and cornered her by the back deck.Clamping its jaws around the dog’s neck, the cougar dragged Sandy 50 yards into the woods. There it gnawed on her head and shoulder, buried the rest for later, and stretched out for a long nap.” [1]
In an inspired moment, we decide to drive a semi-trailer truck up a steep hill. This sort of interaction comes naturally in “Grand Theft Auto V” (GTA V) and it perhaps makes up for all the early driving games where leaving the road resulted in losing the race or the destruction of the vehicle. Leaving the road, leaving the story and leaving the rational is encouraged in GTA V. The Grand Theft Auto series of games are all loosely based on American cities: Liberty City on New York City, Los Santos on Los Angeles, San Fierro on San Francisco, Las Venturas on Las Vegas and Vice City on Miami. In a truly American dream, nearly all space in these cities is traversable by automobile. Running over more than a few pedestrians, or a single police officer, brings on a police chase, but driving over the line and into the wild is encouraged. It is necessary to complete a few of the scripted, trite, missions in order to acquire cash or unlock characters, but the game seems to invite and reward more creative explorations of space.
We have a large truck and intend to drive it up a very steep hill. We flip the radio station from the station that had been playing when we hijacked the truck to another station. The trucker we just flung to the ground has become an angry, red dot on our mini-map. “Still D.R.E.” by Dr. Dre is now on the radio as we cross the sidewalk and begin our ascent. We need to avoid the trucker, still chasing his truck as we pull out from our lane and position the semi at the base of the hill. Most drivers run from their vehicles when carjacked but others chase after our character and pull him out of the vehicle for a physical confrontation. Some truck drivers and others in the rural areas outside the GTA V city of Los Santos are armed.
The truck moves slowly up the incline, over the grass, as we avoid trees growing on the side of the hill. The Xbox game controller vibrates in relation to the terrain—haptic feedback letting us know we have left the road. We only make it halfway up the hill before gravity is pulling us back down. We attempt to swerve back and forth to get some traction but the truck reacts to being sideways on an incline in the same way it might outside the game space, it topples over sideways and slowly slides down the hill.
With a press of the Y button, we exit the vehicle and jump away without harm. Vehicles in GTA V cannot be righted so the truck is now useless and our semi-trailer truck ascent has ended all too quickly. We decide to attach a sticky explosive to the side of the truck and move further up the hill so we can detonate it remotely. In a moment only possible in a game space, perhaps only in this particular game space, we ignite the explosive and, as we watch the flaming wreck of the truck slide down across the sidewalk and into traffic, pedestrians fleeing in all directions, we are attacked and immediately killed by a cougar, whose approaching mini-map red dot we had failed to notice.
Cougars make the less developed areas of GTA V more dangerous to explore on foot. While it is possible to get mugged in the city [2], it seems much more likely to encounter a cougar attack outside the city than a criminal attack inside the city. The cougars in GTA V do not limit their attacks to playable characters: “I saw a cougar killing another person. I walked up to it, but then I changed my mind and ran off to the other direction. Heard a scream, looked at my left, and saw some poor smug being attacked and mauled.” [3]
This video shows a cougar running through the streets of a rural town, taking down pedestrians. [4]
“Three years have passed since Wes Collins moved his family into their house in the woods. Until the cougar attack in May, they enjoyed the parade of wildlife from their back door. Now the four children, ages 8 to 14, are not allowed to play alone outside. Collins bought a can of pepper spray, and he cleared trails out back “to make our presence known,” he said. Collins said he likes wildlife, but he values the safety of his children more. He’d like to see Washington rescind its new ban on hunting cougars with hounds. `You either control the population of cougars or start killing humans,’ Collins said. `There’s not enough room for both of us to survive.'” [5]
Jessie Arbogast was attacked by a 7-foot, 250-pound bull shark on July 6, 2001 and lost his arm and enough blood that he was left with anoxic brain injury. The dramatic rescue, with Arbogast’s uncle attacking the shark, dragging it to shore and retrieving Arbogast’s severed arm, set off months of shark-related coverage in the twenty-four-hour news cycle. Later and far away, in the Bahamas, an american tourist was attacked by another shark. A few weeks later, near the site of the attack on Arbogast, a surfer was bitten by yet another shark. Each event fed into the shark-focused coverage. Time magazine’s cover from June 30, 2001 proclaimed the summer of 2001 as the “Season of the Shark”. The cover featured a close up of shark’s jaws seen simultaneously from above and below the water. Two additional fatal shark attacks and constantly-repeated helicopter footage of shark swarms off the coast of Florida kept the focus on the dangers lurking in the water, until the morning of September 11, 2001, when this imagined danger became a less exciting story.
The attack of Jessie Arbogast is often cited as the beginning of the “Summer of the Shark.” However, six days earlier, in the London’s Daily Mail, Christopher Hudson presaged the media circus of Summer 2001 in a book review titled “Summer of the Shark.” [6] The review focused on two books about “a series of fatal shark attacks in a cluster of Eastern seaboard towns south of New York, complete with panic-stricken holidaymakers, attempts to hush up the danger, bill-posted rewards, and scientists joining the hunt to track down the killer.” The Jersey Shore shark attacks of 1916 were the basis of Peter Benchley’s novel “Jaws” and the subsequent, first, blockbuster film of the same name in 1975. Unlike the summer of 2001, the Jersey Shore attacks were confined to a small area and a period of two weeks. Prior to this, it was thought that sharks did not attack humans or even come close to swimmers. This was changed on July 12, 1916, when, after two attacks along the Atlantic coast, an approximately eight-foot long shark swam up Matawan Creek. There, it killed eleven-year-old Lester Stillwell and injured one of the men attempting to rescue Stillwell’s body, resulting in his death from blood loss. Thirty minutes later and a half-mile away, fourteen-year-old Joseph Dunn was pulled from a swimming ladder as he attempted to exit the water. He was rescued by friends and survived. [7]
We are riding a stolen jet ski out into the open ocean. The waves beneath us are beautifully rendered but seem separate from the space, as if by a sheet of glass. Although the jet ski reacts to the waves and we can even jump over them, the illusion is not completely convincing. We have not read anything about GTA V yet and we do not know what to expect as we head out from the city to see at what point the world ends. We vaguely hope the well-rendered materials will fade out to reveal bright green polygons, the triangular structures familiar to those lucky enough to have played Atari’s “Battlezone” (1980) or “Star Wars” (1983) on original, and intensely beautiful, vector monitors. We remember this fade from reality to polygons, however, as a cinematic device from the movie “The Thirteenth Floor” (1999) and it is unlikely to appear in a game like GTA V. If the Grand Theft Auto series has progressed in any way, it is in the visual details constructing a convincing reality that makes up the game space and a move towards, if not realism, then a seamless and convincing virtual world.
As we move outward over the rolling waves, we can not expect them to disappear, leaving the mathematical structure of the GTA V world. We must, however, expect our outward vector to end. All game spaces, even a space as open as that of GTA V, must have an endpoint. While some games generate terrain as the player moves forward, they must still have some sort of end, if only a limit based on how extensively code can describe a world. As noted by Markus “notch” Persson, the developer of “Minecraft” (2009):
“First of all, let me clarify some things about the ‘infinite’ maps: They’re not infinite, but there’s no hard limit either. It’ll just get buggier and buggier the further out you are. Terrain is generated, saved and loaded, and (kind of) rendered in chunks of 16*16*128 blocks. These chunks have an offset value that is a 32 bit integer roughly in the range negative two billion to positive two billion. If you go outside that range (about 25% of the distance from where you are now to the sun), loading and saving chunks will start overwriting old chunks. At a 16/th of that distance, things that use integers for block positions, such as using items and pathfinding, will start overflowing and acting weird…We’re probably not going to fix these bugs until it becomes common for players to experience them while playing legitimately. My gut feeling is that nobody ever has so far, and nobody will. Walking that far will take a very long time. Besides, the bugs add mystery and charisma to the Far Lands.” [8]
We know we have reached of the GTA V world, not because we hit an invisible wall, as in previous GTA games, but because our stolen jet ski cuts out and begins to sink. The open ocean is no longer a space that provides waves for jumping. The default camera view in GTA V is third-person, meaning our camera floats above and behind the character. Ours now looks small, wet and very far from the beaches of Los Santos, completely isolated. We have not yet noticed the red threat dot on our mini-map). We decide to begin swimming back, fairly confident that our character can swim for an unlimited amount of time, like previous versions of GTA. It looks to be a long, boring slog back to shore when we finally notice the red dot, close by and headed for our character. We turn in a circle, sweeping the camera around the horizon, and and see only open ocean. Similar to “Grand Theft Auto: San Andreas” (2004), characters in GTA V can swim under the water, opening an engaging but dangerous space for game activity. This world is murky, visibility is limited to a few hundred feet, and air runs out quickly. We dive under but do not immediately notice the shark. Still, we suspect the dot presents a serious danger. We begin swimming quickly but the red dot is getting closer. We swivel the camera in front of the character, trying to see the danger while also acting as cinematographer. The shark passes behind our actor and dives down. It is too late for swimming. The angle switches so that we are watching the character from above. The shark erupts from beneath him. Gaping jaws grab his torso and the shark shakes from side to side. He screams and blood pours out as our screen fades to the gray monochrome that GTA V employs to indicate that our virtual life has ended.
There remains some question about whether sharks appeared in Rockstar Games’ previous “Grand Theft Auto: Vice City” (2002), in which swimming was impossible. There are videos [9] that show sharks spotted via sniper rifle from a boat in the waters around Vice City. People also claim to have been attacked by sharks in “Grand Theft Auto: San Andreas”. They describe their character as having been bitten or stabbed to death while swimming. Others dismiss this as a myth, chalking up the deaths to players letting their oxygen level deplete to the point of death. Any video of sharks in previous games could be due to user modification of PC versions of the game. The appearance of unconfirmed urban legends and possible easter eggs are not new to video games [10] but the existence of controversy over whether sharks exist in a medium in which video screen capture and game edits are possible is a testament to the immersive and mutable reality of the GTA universe. [11]
Similar to the shark in the film Jaws, and unlike sharks outside media space, the sharks in GTA V can appear anywhere in the ocean and will always attack swimmers. There is no doubt about their existence in GTA V as Rockstar Games released a Jaws-like screenshot (above) when promoting the game. Their placement and the way they function as artificial life only in relation to the player underscores the cinematic basis of this space. A realistic artificial life algorithm would have the sharks looking for food and likely ignoring any humans in the water. Instead, shark attack is inevitable at the end of the world and the attack becomes a scene in which a player, unlike a viewer, has some agency. While we were unarmed and surprised, sharks can be killed with a knife. The attack takes place as an interactive event somewhere between a static cutscene and the open world of the majority of the game. Other wildlife, like the deer, appear more randomly in the game landscape and run from the player, or attack quickly and without cinematic build up, like the mountain lions which prowl the hills around Los Santos.
While the previous “Grand Theft Auto: San Andreas” had a large, rural space, the vehicles in the game were much more sensitive to vertical drops. In GTA V it is possible to drive a truck from a large cliff, crash, roll, return to all four wheels and continue. It reminds us of our early game experience with Hitmaker’s “Crazy Taxi” (1999), in which it was possible to drive the taxi cab under water, across hills and through train tunnels, with a screaming passenger in the back. GTA V’s cars will not drive underwater and when we are not careful, we end up sitting underwater, our experience of speed at an ignoble end. The drive for speed combined with the joy of hills and mountains, and experiencing those vertical spaces on ATVs, motorcycles, trucks, standard cars, luxury convertibles and even bicycles is incredibly compelling. As Paul Virilio writes of the Amerian 1960s lust, “To succeed is to reach the power of greater speed, to have the impression of escaping the unanimity of civic training.” [12]
Bounding over the hills in a more appropriate truck, one with large wheels and (we imagine) huge virtual shock absorbers, we delight in the incredibly large and ever changing vertical space. In addition to cougars, the rural spaces have deer and, occasionally, herds of deer. When we find a herd, high on the hilltop, they bolt and we follow them, not running them down, but not avoiding that possibility. We are moving quickly over the space, surrounded by a herd of animals, completely satisfied to move forward through the space. The experience is not a simulation of any possible natural world but instead reminds us again of cinema. In a scene from “Jurassic Park” (1993), combining blue screen, three dimensional animation and live action, three characters discovered a herd of dinosaurs, flocking as they sprint over the terrain. The dinosaurs turned towards the camera and the characters also began running, surrounded and trying to avoid being trampled. A Tyrannosaurus rex erupts from a copse of trees and takes down a smaller dinosaur. In GTA V we are both the possible danger and the characters moving with the herd, driving quickly across the landscape, a tight grip on the vibrating controller. As Soraya Murray describes her experience in “Grand Theft Auto: San Andreas”, “…though the bobbling image and rumbling controller in no way replicates the ‘actual’ feeling…the visual language effectively conveys the exhilarating rush in largely cinematic terms.”[13]
Each time we find a vehicle suited for off-road driving, we worry that it will eventually wreck completely. GTA vehicles show aesthetic damage when they collide with objects, people or animals and further collision results in the loss of doors, the car hood and tires. Wheels will eventually bend inward and outward, slowing the car. Finally, a car will catch fire and explode after too many falls or collisions. The spaces we seek out are fairly far from the roads, and the police, and these spaces do not present many vehicles to carjack once our primary vehicle explodes. Losing our truck could result in the death of our character or, much worse, require a hasty exit and a long walk back to a road where a new car can be found.[14] Nothing feels more alien to GTA V than hiking through the woods. The slow speed of trudging back to developed areas (or running, requiring constant button mashing and staying within the characters maximum endurance) is coupled with the danger of cougars, or simply falling off a cliff. While a vehicle can survive a ridiculous drop that does not match physics in the outside world, a character cannot.
There are good and bad deaths to be found in the GTA V game space. While there is no way to lose at GTA V, watching our character stumble over a cliff and bounce down a ravine feels closest to a loss. Driving into an unexpected and high speed collision with an object that cannot be destroyed by the car, and the subsequent ejection of the character, who takes flight for a short while before himself colliding with an immovable object, feels much more like victory. From the slow dread of our jet ski going under the water, and the sinking recognition that we are about to relive a movie scene, to an instant death by cougar, to leaving the vehicle via the windshield in a scene resembling a seatbelt safety video, GTA V, and the entire Grand Theft Auto series, relies on slapstick humor but more so on an intense desire for the active yet vicarious violence possible at the repeated end of the character’s life. In a doubling of the condition Steven Shaviro, referring to the attraction of death and dismemberment in horror cinema, calls “vertiginously passive fascination,” we connect with the character and in GTA V we desire and can attain death, over and over again. We seek the moment at which the game takes over and time slows down and we, and our character, meet an incredibly violent end. We are seduced by the promise of the destruction of the vehicle we were driving, our own virtual carnage, a spectacular end. “I’m taken on a wild ride through a series of thrills and shocks, pulled repeatedly to the brink of an unbearable and impossible consummation.”[15]
The experience Shaviro describes above, based on watching George Romero’s “Living Dead” trilogy, moves to a strange space between directing and suffering, indulging in and being removed from the violent physics of GTA V. Shaviro discusses the use of “special effects” in horror as “grotesque visual effects and…affective and physiological effects on the viewer.” Our character’s head smashes into the side of a boulder and there is instantly blood. The algorithms driving the game have already calculated this impact and that the character will not survive. We lose control and watch passively. This changes the camera mode to slow motion, presumably because the game developers, borrowing from horror cinema, know we want to prolong this moment. The character’s neck snaps and the body, still in motion, crumples before it smashes into the cliff face. Previously we were connected to the character, he was driving the car as we were driving the car, together. As his neck snaps, our connection is broken and he becomes a ragdoll. Ragdoll physics, a phrase that describes exactly what it is, take over and what was our character, and is now an abject body in the scene we constructed, spins wildly across the game space. The scene is not scripted, what transpires is based on what objects exist in the vector the ragdoll character moves through. Any unmoving object impacts this body and it flails in a new direction. Any moveable object skitters away until finally the body comes to a rest. Rockstar Games has selected the perfect phrase for this end and it has remained consistent across the GTA series. A word appears across the now completely gray monochrome screen in burgandy: WASTED.
_
This review was written with substantial input from Channel TWo collaborator Oskar Westbridge.
The term DIWO – Do It With Others was first defined in 2006 on Rosalind – Upstart New Media Art Lexicon1 It extended the DIY Do-It-Yourself ethos of early net art, punk & Situationism, towards a more collaborative approach, using the Internet as an experimental artistic medium and distribution system to foment grass-roots creativity. Even before it was defined it underpinned everything Furtherfield has ever done.
The first DIWO Email Art project started with an open call to the email list Netbehaviour, February 1st 2007. The call drew on the Mail Art tradition proposing to bypass curatorial restrictions to promote imaginative exchange between artists and audiences on their own terms.
“Peers connect, communicate and collaborate, creating controversies, structures and a shared grassroots culture, through both digital online networks and physical environments.”2
Participants worked ‘across time zones and geographic and cultural distances with digital images, audio, text, code and software. They created streams of art-data, art-surveillance, instructions and proposals in relay, producing multiple threads and mash-ups.’3. Co-curated using VOIP and webcams the exhibition at HTTP Gallery displayed every contribution in an email inbox, alongside an installation of prints of every image, and a running copy of every video and audio file submitted.4 Every post to the list, until April 1st, was considered an artwork – or part of a larger, collective artwork – for the DIWO project.
DIWO at the Dark Mountain was the second DIWO email art exhibition instigated by Furtherfield and the Dark Mountain Project in 2010. It took ecological collapse as its subject and the need for new stories, systems and infrastructures as its premise. This project generated intense controversies among participants. Again, considered part of the artwork, the details of debates were re-enacted for gallery visitors in a live performance at the opening event. In addition to the networked, live-streamed co-curation event, and the performance, this exhibition closed with a disassembly event in which gallery visitors demounted all physical works and redistributed them via snail mail to anyone they knew.5
In recent years other individuals and have taken DIWO as the inspiration for their own projects. Some changed its meaning. For instance, Cory Janssen’s definition of DIWO for Technopedia, does away with the art, and collaboration across difference. We think that what he describes is just plain and simple Crowdsourcing.6 Others maintain the adventurous and emancipatory spirit. For instance, in 2012 Pixelache the Helsinki-based transdisciplinary platform for experimental art, design, research and activism took DIWO as the theme for its annual festival.7 Whatever the starting point we always welcome invitations to DIWO!
Notes
Do It With Others (DIWO): contributory media in the Furtherfield Neighbourhood by Ruth Catlow and Marc Garrett, Furtherfield. From Coding Cultures, 2007. Editor: Francesca Da Rimini. Published by d/lux, Lilyfield NSW Australia. Available at Foam (pdf) here.
Do It With Others (DIWO) – E-Mail Art in Context by Ruth Catlow and Marc Garrett, 2008. Curediting, Vague Terrain. Available here.
DIWO (Do-It-With-Others): Artistic co-creation as a decentralized method of peer empowerment in today’s multitude by Marc Garrett, 2013, published by SEAD: White Papers. Available here.
DIWO: Do It With Others – No Ecology without Social Ecology, by Ruth Catlow and Marc Garrett. From Remediating the Social, 2012. Editor: Simon Biggs University of Edinburgh. Published by Electronic Literature as a Model for Creativity and Innovation in Practice, University of Bergen, Norway. Available here.
More DIWO references
Don’t DIY, DIWO — a VOD case study with Anatomy of a Love Seen, by Peter Gerard. Published on May 7, 2015 on the Vimeo staff blog.
A DISTINGUISHED DATA-BENDER AND ACCOMPLISHED SOUND-PLUNDERER, Benjamin Berg (AKA stAllio!) has made a career for himself as a member of the Indianapolis-based art band Animals Within Animals (AWIA) since the turn of this century. Alongside of that, Berg’s also emerged online as the host of a rad radio program on Numbers FM, as the founder/curator of the Tumblr called glitchgifs, and even as a pillow-seller. Midwestern breakcore fanatics may recall seeing his name on bills back in the day alongside such legends as Doormouse or Xanopticon. AND It turns out he’s also a rather skilled skill-sharer. Monty Cantsin [AKA Rap Game Gertrude Stein], big fan of stAllio! since 2007, corresponded with the artist recently [11/2013] by email for this interview.
Montgomery Cantsin: How did you first encounter the “plunderphonics” approach? And, looking back over the last few decades, what (for you) are the highlights and stand-out tracks that define that particular genre?
Benjamin Berg: A co-worker told me about Negativland so I tracked down a copy of Escape From Noise. That was a game-changer for me, and still one of the highlights of their catalog. The Evolution Control Committee’s (ECC) Whipped Cream Mixes were hugely influential and still stand up better than most “mashups” made since (same goes for their track “Rocked by Rape”). I’d also list: John Oswald’s early work, like Plexure; pretty much anything by Orchid Spangiafora; Osymyso’s “Intro-inspection;” Wobbly’s Wild Why. To that list I’d maybe add something by Wayne Butane or Cassettboy for a touch of humor.
MC: What were some of the first projects that you worked on in that vein?
BB: We were maybe mid-way through the first Animals Within Animals record when I discovered plunderphonics, so the first experiments were on the first two AWIA releases (Yard Ape, and Mono a Mono).
MC: When ECC started, I think they were doing work using a simple dual-cassette system. Did you ever do any of that? I am stealing the name of one of your greatest hits, “Mash Smarter Not Harder,” to title this interview; was that track made using simple editing software? Because, by the time you made “Bust A Groove” (a similar sort of track) you’d decided to use Ableton, is that correct?
BB: A bunch of the first AWIA record was made on a 4-track, and at least a couple of those tracks used a pause-button sampling technique, so that was effectively dual-cassette. Also, a lot of my earliest video work was done with simple pause-button editing; I didn’t have access to real editing equipment, so I would just hook the camera up to a VCR and edit that way. On some of those I was very loose about where my edits were; I would just fast foward to some point at random on my source tape and copy a clip over The Mash Smarter Not Harder EP and the first few tracks I recorded for A Huge Smash were done in Adobe Audition. But after a while, it got to the point where I just had too many cuts and the program crashed. When I lost a track and had to start it over, I switched to Ableton, which not only performed better but also made it easier to sync my edits to the beat.
MC: Now what about your personal history of glitch music? This one is a bit harder to pin down, perhaps?
BB: Yeah I can’t name a particular moment when I discovered glitch music or a particular artist or release. It was probably something off of the Mille Plateaux label, if I had to guess. The early M^2 records were an influence for me, as well as early Kid606 (but not anything he’s done in the last 10 years). My favorites are Lesser, DISC, and Farmers Manual… anything by them is great. Ryoji Ikeda is really good, too.
MC: An old film projectionist once remarked to me that “digital failure is absolute.” I guess he was frustrated… when analog equipment falters it still often gives you something (some image, some sound) and can be worked with. Whereas sometimes with a digital system it’s more of a black box situation where it’s either on (‘one’) or it’s off (‘zero’). Does the glitch represent a sort of exception to this? Can you talk about glitch in the context of this–perhaps mistaken–notion that digital failure is “absolute?”
BB: I wouldn’t say that digital failure is always absolute. Sometimes it is, like clipping versus analog distortion, where you hit a sort of peak and can’t break things any further. But it depends on the system, and the assumptions that engineers make when designing systems. An obvious example would be your TV going to a blue screen when the picture is bad, instead of showing snow as they used to. There’s no technical reason why a TV has to do that. Hardware manufacturers decided that nobody would really want to watch a heavily distorted picture, and designed their devices not to show one. I like to say that glitch art is like dancing on the edge of a broken system. You want to break things enough that it affects the output, but not so much that your tools stop working or the system fails altogether.
MC: I have to say that “Fuck Windows” (your track composed entirely of Windows and Sim City samples) is one of my favorite audio pieces that you’ve done. What can you say about that one? …Are computer games what got you interested in fucking around with ‘data?’
BB: I made “Fuck Windows” in 1996, and it came about in large part because I already had those sounds on my computer. It seems weird to think about now, but back then samples weren’t so easy to come by. You either had to rip them yourself from a CD (and being in college, I only had so many) or record them yourself using a shitty computer microphone. The system sounds and video game sound effects were practically the only WAV files I had, so it seemed natural to use them. …I started using data as audio around the same time, but it didn’t directly spin out of that track. I was using a program called Impulse Tracker to compose/arrange music on the computer. Going back to what I was saying earlier about assumptions: most programs assume that unrecognized file formats can’t be read (or they make you explicitly tell them how to interpret such files). Impulse Tracker assumed the opposite, and let you open any file on your hard drive as if it were a sample. I discovered that pretty quickly and spent hours just browsing through my computer, listening to all the data.
MC: “Blue Screen of Death” is another one of my favorite audio works that you’ve done. You describe this kind of work as ‘data-bent’? What is your process for it?
BB: These days I’ve taken to calling that style of music “data sound”. The general process is that I browse through my hard drive, converting data files to sound and trying to pick out the ones that sound the most interesting. Then when I have enough cool sounds, I arrange them into a track. My first data sound release, Dissonance Is Bliss, was done entirely in Impulse Tracker (both the sonification of the data and the arrangement of the samples). Then I switched to using WAV editors to sonify data, and loading the WAV files into other music-making tools. “Blue Screen of Death” was arranged in Fruity Loops. Everything on my newest data sound release (On the DLL) was arranged in Ableton.
MC: What can you say about chance? And, is there a distinction to be made between the data-bent and the glitched? Can something be a glitch if it is intentionally created? …This reminds me of a somewhat related question, that of “found objects”–can we rightly call them that if we specifically go out looking for them? [In surrealism there is the so-called “chance encounter of a sewing machine and an umbrella on an operating table.” It seems to me that it’s largely the chance aspect that is of key importance there–the notion that such objects could be juxtaposed unintentionally somewhere in the world and you could just happen upon them.]
BB: I think glitch is like the intersection between chance and formalism. In the 20th Century artists started asking questions like “What is music?” and “What is a painting?” And you had things like The Art of Noises, musique concrète… you had painters who were more concerned with exploring the nature of paint and canvas than with “representing” some physical object or scene. Glitch practices are like that stuff, but because digital structures are more hidden, you can do things where even if you know pretty much what’s going to happen, you don’t really know what the end result will look or sound like. It’s not really chance, because there are rules governing it, but it feels like chance because you don’t understand those rules. Even if you have a good grasp of something like JPEG compression, you probably can’t look at the code and tell what the image is going to look like. So it’s a way of creating things that you wouldn’t have thought of yourself, just as in the tradition of John Cage, Bryon Gysin, etc. As for the difference between a “natural” glitch and manmade glitch (or what Iman Moradi called “glitch-alike”): it’s an important distinction that had to be made, but it’s not one I find particularly interesting. For one thing, the audience generally can’t tell the difference unless you’re really obvious about it, so it’s mostly a question of what you feel comfortable with as an artist. Encountering a glitch in the wild (what Antonio Roberts and Jeff Donaldson call “glitch safari“) is exciting, but the idea that if it’s not a wild glitch then it’s not “real” is very limiting and precludes all sorts of interesting art practices.
MC: I wonder how is it that a whole industry (websites, music and art careers, academic conferences, etc.) seems to have sprung up around The Glitch. How can so much be generated within that narrow of a conceptual/aesthetic space?
BB: I’m not surprised by the growing popularity of the glitch. We’re surrounded by technology but we’re not that used to thinking about how it works, let alone how to deliberately misuse it. Glitch practices constitute a different way of thinking, and these kinds of ideas are infectious. You can apply glitch theory to pretty much any technology or system, so it’s widely applicable, and it tells us things about the world that might not be obvious otherwise.
MC: You are founder of glitchgifs Tumblr? Is it you alone?
BB: Yeah, I run glitchgifs. GIF is such a great format for glitch art, because it’s the only common shareable format that allows motion and looping without the user having to click anything. I run the blog alone, and I would actually love to invite other curators, but because it was the first Tumblr blog I created, I am unable to do so. To Tumblr, I am “glitchgifs” and there is no way to tell it otherwise, even though I have a blog at http://stallIo.tumblr.com that’s intended to be my “personal” account. There are those pesky design assumptions again.
MC: Plans for the future?
BB: I’d like to find the time soon to do some video work again. I have footage; I just need to assemble it and set it to music. Musically I have a release coming out (hopefully) soon on a German label called Betonblume. I’m really pleased with it and can’t wait for it to come out so people can hear it. After that, I hope to make some new post-mashup tracks and finish the follow-up to Wack Cylinders. I’m still going to be active posting new art on Tumblr, and my weekly show Active Listening / The Act of Listening on numbers.fm will continue at least for the near future.
MC: Finally, please tell me more about this big international show you are in right now, and about this amazing text generator thing you did for it.
BB: The Wrong – New Digital Art Biennale is a massive online art show, consisting of 30 individually themed pavilions. Bill Miller graciously invited me to contribute to his pl41nt3xt pavilion, which centers around art made with simple technologies like text, rather than fancy 3d environments or video processing or stuff like that. So I made a glitch text generator and text-art canvas. It lets you quickly generate “glitch text” out of combining diacritics (g͖̣̝͎̙͐ͅl̵̮̰̝᷇̑̾î̶̢᷾ͭ̈́ͩt̯̬̰̓ͦ᷁͋c᷿͖̙ͯ͛̊᷇h̳̭͓͛ͬ᷈᷄) as well as generate other fun stuff like ◞▀╗▪┐│╌╈◚┱▍▷▀╻▪╶ …plus it’s a text art canvas for making art out of the text you generate. You can even download the scripts yourself and add them to your own project.
MC: OK, stAllio! thanks for your time! Oh, one last thing: what is your favorite ‘dingbat’ or ‘wingding’?
BB: My favorite Unicode pictographs are in the Miscellaneous Symbols and Pictographs block. Not many fonts support this block right now, but it has some crazy stuff in it. Probably the craziest is Love Hotel. A love hotel is a hotel that is geared toward sex. The fact that there is a character for this in Unicode blows my mind. Another great one is Dancer, which looks like John Travolta on the cover of Saturday Night Fever. It’s so perfect. Travolta has literally become an icon.
In the 1990s the idea of the virtual idol singer escaped from Macross Plus’s Sharon Apple and William Gibson’s Rei Toei into the cultural imagination. Blank slates for market forces and projected desires, virtual idol singers differ from Brit School drones only in that there is no meat between the pixels and the data.
Hatsune Miku is a proprietary speech synthesis program with an accompanying character whose singing the software notionally renders. Miku the software is a “Vocaloid” synthesizer using technology developed by Yamaha and the sampled voice of voice actor Saki Fujita. Released in 2007, with additional Japanese voices in 2010 and an English version in 2013, the software topped the charts in Japan on release and has led to spin off games and 3D modelling software. It’s claimed the software has been used to produce over 100,000 songs.
Hatsune Miku the character is a cosplayer’s dream, a sixteen year old (with a birthday rather than a birthdate) Anime young-girl with impossibly long aqua hair (there are male Vocaloids as well). She’s had a chart-topping album, “Exit Tunes Presents Vocalogenesis feat. Hatsune Miku” (2010), and started performing “live” on stage in 2009 with Peppers Ghost-style technology. She’s available as (or represented as) figurines, plushes, keychains, t-shirts, and all the other promotional materials produced for successful Anime characters, pop stars, or both. Her likeness can be licensed automatically for non-commercial use. This makes her fan-friendly, although not Free Culture, and means that fan depictions and derivations of her are widespread. The majority of “her” songs are by fans rather than commercial producers.
She is now appearing in “The End” (2013), a posthuman Opera (with clothes by a designer from artist-suing fashion company Louis Vuitton) where she takes the stage as a projection among screen-based scenery without a live orchestra or vocalists. Which means that someone programmed the software to produce synthesized vocals and someone else negotiated the rights to use the likeness of the characted commercially dressed in a particular designer’s virtual clothing. “She is now appearing” is easier to say, but like Rei Toei this is an anthropomorphised representation of the underlying data.
It’s getting rave reviews, and the music is competent, enjoyable and affecting: strings, electronica and Supercollider-sounding glitches and line noise under breathily cute synthesized vocals. The visuals are CGI with liberally applied glitch aesthetics, mostly featuring Hatsune Miku and a cute chinchilla-ish animal sitting in or falling through space. The plot is a meditation on what mortality and therefore being human can possibly mean to a virtual character. To quote the soundtrack CD booklet notes:
Miku, who has had a presentiment of her fate, talks with animal characters and degraded copies of herself to ask the age-old questions ‘what are endings?’ and ‘what is death?’.
The phantom in this particular opera is composer Keiichiro Shibuya, who appears onstage largely hidden by two smaller projection screens. As the man behind the curtain it’s tempting to read him as the male agent responsible for the opera’s female subject’s troubles. His presence onstage also threatens to make him the human subject of what is intended to be a repudiation of opera’s European anthropocentrism. But without such an anchor the performance would seem less live and perhaps become cinema rather than opera. It seems that a posthuman opera needs a human to be post.
Music production is uniquely suited to the creation of virtual characters through tools, brands and fandoms. Hatsune Miku functions as a guest vocalist, a role combining artistic talent and social presence with a well understood standing in the economics of pop. In art, Harold Cohen‘s sophistiated art-generating program AARON was licensed as a screensaver anyone could run to create art on their Windows desktop computers, but despite its human name and human-like performance, AARON is never anthopomorphised or given an image or personality by Cohen. Could a virtual artist combining software and character similar to Hatsune Miku function in the artworld or in the folk and low art of the net and the street?
The license for Hatsune Miku the character is frustratingly close to a Free Culture license. Could a free-as-in-freedom Hatsune Miku or similar character succeed? Fandom exists as an ironisation of commercial culture, appropriating mass culture in a bottom-up repurposing and personalisation of top-down forms. Without the mass culture presence of the original work, fandom has no object. Perhaps then without the alienation that fandom addresses, shared artistic forms would not resemble fandom per se.
There are precedents for this. Collaborative personalities abound in art, such as Luther or Karen Blisset. And in politics there is Anonymous. There are also existing Free Culture character like Jenny Everywhere, or even the more informally shared Jerry Cornelius. So it is possible to imagine a Free Software Hatsune Miku, but it’s less easy to imagine what need this would meet.
Unlike the idol signers of literature and television, there’s no pretence that Hatsune Miku is an artificial intelligence. But she is an artifical cultural presence, created by her audience’s use of her technical and aesthetic affordances. Like the robots in Charles Stross’s “Saturn’s Children” (2008), Miku’s notional personhood (such as it is) is defined legally. As a trademark and various rights in the software rather than as a corporation in Saturn’s Children, but legally nonetheless. Heath Bunting’s “Identity Bureau” shows how natural and legal personhood interact and can be manufactured. It’s tempting to try to apply Bunting’s techniques to software characters. If Hatsune Miku had legal personhood, would we still need a human composer onstage?
“The End” was written by that human composer, but software exists that can generate music and lyrics and to evaluate their chances of being a top 40 hit. Combining these systems with software made legal persons would close the loop and create a posthuman cultural ecosystem that would be statistically better than the human one, which I touched on here. It’s not just our jobs that the robots would have taken then. Given the place of music in the human experience they would have taken our souls.
Or the soullessness of Fordist (or Vectorialist) pop. Such a posthuman music system would exclude the human yearning and alienation that fan producer communities answer. It would be an answer without a question. Hatsune Miku is in the last analysis a totem, the products incorporating her are fetishes of the hopeful potential that pop sells back to us.
Despite “The End”, Hatsuke Miku has no expiry date and cannot jump a shuttle offworld. It’s not like she’s going to marry a fellow pop star or come tumbling out of networked 3D printers. But human beings are becoming less and less suitable subjects for the demands of cultural and economic life. In facing our mortality for us Hatsune Miku may have become more human than human.
The text of this review is licenced under the Creative Commons BY-SA 4.0 Licence.
For over 17 years, Furtherfield has been working in practices that bridge arts, technology, and social change. Over these years, we have been involved in many great projects and collaborated with and supported various talented people. Our artistic endeavours include net art, media art, hacking, art activism, hacktivism and co-curating. We have always believed it is essential that the individuals at the heart of Furtherfield practice in arts and technology and are engaged in critical enquiry. For us, art is not just about running a gallery or critiquing art for art’s sake. The meaning of art is in perpetual flux, and we examine its changing relationship with the human condition. Furtherfield’s role and direction as an arts collective is shaped by the affinities we identify among diverse independent thinkers, individuals and groups who have questions to ask in their work about the culture.
Here I present a selection of Furtherfield projects and exhibitions featured in the public gallery space we have run in Finsbury Park in North London for the last two years. I set out some landmarks on the journey we have experienced with others and end my presentation with news of another recently opened space (also in the park) called the Furtherfield Commons.
Running themes in this presentation include how Furtherfield has lived through and actively challenged the disruptions of neoliberalism. The original title for this presentation was ‘Artistic Survival in the 21st Century in the Age of Neoliberalism’. The intention was to stress the importance of active and open discussion about the contemporary context with others. The spectre of neoliberalism has paralleled Furtherfield’s existence, affecting the social conditions, ideas and intentions that shape the context of our work: collaborators, community and audience. Its effects act directly upon ourselves as individuals and around us: economically, culturally, politically, locally, nationally and globally. Neoliberalism’s panoptic encroachment on everyday life has informed Furtherfield’s motives and strategies.
In contrast with most galleries and institutions that engage with art, we have stayed alert to its influence as part of a shared dialogue. The patriarch, neoliberalism, de-regulated market systems, corporate corruption and bad government; each implement the circumstances where we, everyday people, are only useful as material to be colonized. This makes us all indigenous peoples struggle under the might of the wealthy few. Hacking around and through this impasse is essential if we maintain human integrity and control over our social contexts and ultimately survive as a species.
“The insights of American anarchist ecologist Murray Bookchin into environmental crisis hinge on a social conception of ecology that problematises the role of domination in culture. His ideas become increasingly relevant to those working with digital technologies in the post-industrial information age, as big business develops new tools and techniques to exploit our sociality across high-speed networks (digital and physical). According to Bookchin, our fragile ecological state is bound up with a social pathology. Hierarchical systems and class relationships so thoroughly permeate contemporary human society that the idea of dominating the environment (to extract natural resources or to minimise disruption to our daily schedules of work and leisure) seems perfectly natural despite the catastrophic consequences for future life on earth (Bookchin 1991). Strategies for economic, technical and social innovation that focus on establishing ever more efficient and productive systems of control and growth, deployed by fewer, more centralised agents, have been shown to be both unjust and environmentally unsustainable (Jackson 2009). Humanity needs new social and material renewal strategies to develop more diverse and lively ecologies of ideas, occupations and values.” [1] (Catlow 2012)
It is no longer critical, innovative, experimental, avant-garde, visionary, evolutionary, or imaginative to ignore these large issues of the day. Suppose we, as an arts organization, shy away from what other people are experiencing in their daily lives and do not examine, represent and respect their stories. In that case, we rightly should be considered part of an irrelevant elite and seen as saying nothing to most people. Thankfully, many artists and thinkers take on these human themes in their work in various ways, on the Internet and in physical spaces. So much so, this has introduced a dilemma for the mainstream art world regarding its relevance and whether it is contemporary.
Furtherfield has experienced, in recent years, a large-scale shift of direction in art across the board. And this shift has been ignored (until recently) by mainstream art culture within its official frameworks. However, we need not only to thank the artists, critical thinkers, hackers and independent groups like ours for making these cultural changes, although all have played a big role. It is also due to an audience hungry for art that reflects and incorporates their social contexts, questions, dialogues, thoughts and experiences. This presentation provides evidence of this change in art culture, and its insights flow from the fact that we have been part of its materialization. This is grounded knowledge based on real experience. Whether it is a singular movement or multifarious is not necessarily important. But, what is important is that these artistic and cultural shifts are bigger than mainstream art culture’s controlling power systems. This is only the beginning, and it will not go away. It is an extraordinary swing of consciousness in art practice forging other ways of seeing, being, thinking, making and becoming.
Furtherfield is proud to have stuck with this experimental and visionary culture of diversity and multiplicity. We have learned much by tuning into this wild, independent and continuously transformative world. On top of this, new tendencies are coming to the fore, such as re-evaluations and ideas examining a critical subjectivity that echo what Donna Haraway proposed as ‘Situated Knowledge’ and what the Vienna-based art’s collective Monochrom call ‘Context Hacking’. Like the DADA and the Situationist artists did in their time, many artists today are re-examining current states of agency beyond the usually well-promoted, proprietorial art brands, controlling hegemonies and dominating mainstream art systems.
Most Art Says Nothing To Most People.
“The more our physical and online experiences and spaces are occupied by the state and corporations rather than people’s own rooted needs, the more we become tied up in situations that reflect officially prescribed contexts, and not our own.” [2]
To start things off, I want to refer to a past work that Heath Bunting (co-founder of irational.org) and I were involved with in 1991. The above image is a large paste-up displayed on billboards around Bristol in the UK. At the time, as well as being part of other street art projects, pirate radio and BBS boards, Heath and I and others were members of the art activist collective Advertising Art. The street art we made critiqued presumed ownership of art culture by the dominating elites. The words “Most Art Says Nothing To Most People” have remained an inner mantra ever since.
Furtherfield is inspired by ideas that reach for a grassroots form of enlightenment and nurture progressive ideas and practices of social and cultural emancipation. The Oxford English Dictionary describes Emancipation as “the fact or process of being set free from legal, social, or political restrictions; liberation: the social and political emancipation of women and the freeing of someone from slavery.”
“Kant thought that Enlightenment only becomes possible when we are able to reason and to communicate outside of the confines of private institutions, including the state.” [3] (Hind 2010)
Well, a start would be getting organised and building something valuable with others.
As usual, it is up to those people who know that something is not working and those feeling the brunt of the issues affecting them who end up trying to change the conditions. It is unlikely that this pattern of behaviour will change.
To expect or even wish those who rule and those serving them to change, challenge their behaviours and seriously critique their actions is as likely as winning the National Lottery, perhaps even less.
Art critic Julian Stallabrass proposes that there needs to be an analysis of the operation of the art world and its relation to neoliberalism. [4]
In the above publication, Gregory Sholette argues “that imagination and creativity in the art world thrives in the non-commercial sector, shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and utilized to sustain the few elite artists admitted into the elite. […] Art is big business: a few artists command huge sums of money, and the vast majority are ignored, yet these marginalized artists remain essential to the mainstream cultural economy serving as its missing creative mass. At the same time, a rising sense of oppositional agency is developing within these invisible folds of cultural productivity. Selectively surveying structures of visibility and invisibility, resentment and resistance […] when the excluded are made visible when they demand visibility, it is always ultimately a matter of politics and rethinking history.” [5] (Sholette 2013)
Drawing upon Sholette’s inspirational, unambiguous and comprehensive critique of mainstream art culture in the US. I want to consider examples closer to home blocking artistic and social emancipation avenues that also need an urgent critique. And this blockage resides within media art culture (or whatever we call it now) itself. Recently, I read a paper about ‘Post-Media’ – said to “unleash new forms of collective expression and experience” [6]- which featured in its text-only established names. Furtherfield is native to ‘Post-Media’ processes, a concept that theorists in media art culture are just beginning to grasp. This is because they tend to rely on particular theoretical canons and the defaults of institutional hierarchies to validate their concepts. Also, most of the work they include in their research is shown in established institutions and conferences. They assume that because a particular artwork or practice is accepted within the curatorial remits of a conference theme, the art shown represents what is happening, thus more valid than other works and groups not included. This is a big mistake. It only reinforces the conditions of a systemic, institutionalised, privileged elite and enforces a hierarchy that will reinforce the same myopic syndromes of mainstream art culture. The extra irony here is that many supposedly insightful art historians and theorists advocate a decentralised, networked culture in their writings or as a relational context. However, many do not support or create alternative structures with others. The real problem is how they acquire their knowledge. Presently the insular and hermetically sealed dialectical restraints and continual reliance on central hubs as official reference is distancing them from the actual culture they propose to be part of.
“We must allow all human creativity to be as free as free software” [7] (Steiner, 2008)
Furtherfield comes from a cultural hacking background and has incorporated into its practice ideas of hacking not only with technology but also in everyday life. Furtherfield is one big social hack. Hack Value advocates an art practice and cultural agency where the art includes the mechanics of society as part of its medium and social contexts with deeper resonances and a critical look at the (art) systems in place. It disrupts and discovers fresh ways of looking and thinking about art, life and being. Reclaiming artistic and human contexts beyond the conditions controlled by elites.
Hack Value can be a playful disruption. It is also maintenance for the imagination, a call for a sense of wonder beyond the tedium of living in a consumer, dominated culture. It examines crossovers between different fields and practices concerning their achievements and approaches in hacking rather than as specific genres. Some are political, and some are participatory. This includes works that use digital networks, physical environments, and printed matter. What binds these examples together is not only the adventures they initiate when experimenting with other ways of seeing, being and thinking. They also share common intentions to loosen the restrictions, distractions and interactions dominating the cultural interfaces, facades and structures in our everyday surroundings. This relates to our relationship with food, tourism, museums, galleries, our dealings with technology, belief systems and community ethics.
Donna Haraway proposes a kind of critical subjectivity in the form of Situated Knowledges.
“We seek not the knowledges ruled by phallogocentrism (nostalgia for the presence of the one true world) and disembodied vision. We seek those ruled by partial sight and limited voice – not partiality for its own sake but, rather, for the sake of the connections and the unexpected openings situated knowledges make possible. Situated knowledges are about communities, not isolated individuals.” [8] (Haraway 1996)
Furtherfield had run [HTTP], London’s first public gallery for networked media art, since 2004 from an industrial warehouse in Haringey. In 2012 the gallery moved to a public location at the McKenzie Pavilion in the heart of Finsbury Park, North London.
However, we are not just a gallery; we are a network connecting beyond a central hub.
“It is our contention that by engaging with these kinds of projects, the artists, viewers and participants involved become less efficient users and consumers of given informational and material domains as they turn their efforts to new playful forms of exchange. These projects make real decentralised, growth-resistant infrastructures in which alternative worlds start to be articulated and produced as participants share and exchange new knowledge and subjective experiences provoked by the work.” [9] (Garrett & Catlow, 2013)
The park setting informs our approach to curating exhibitions in a place with a strong local identity, a public green space set aside from the urban environment for leisure and enjoyment by a highly multicultural population.
We are simultaneously connected to a network of international critical artists, technologists, thinkers and activists through our online platforms, communities, and wider networked art culture. We get all kinds of visitors from all backgrounds, including those who do not normally visit art spaces. We are not interested in pushing the mythology of high art above other equally significant art practices. Being accessible has nothing to do with dumbing down. It concerns making an effort to examine deeper connections between people and the social themes affecting theirs and our lives. We don’t avoid big issues and controversies and constantly engage in a parallel dialogue between these online communities and those meeting us in the park.
We feature works incorporating local people’s contributions, bringing them closer to the art and engagement of social dialogue. For instance, London Wall, N4 by Thomson and Craighead, reflected a collective stream of consciousness of people all around Finsbury Park, gathering their Tweets to print out and paste onto the gallery walls. By retweeting the images of the tweet posters, we gathered many of the original authors in the gallery to see their words physically located among others made in the vicinity.
Crow_Sourcing by Andy Deck invited people to tweet animal expressions from around the world – illuminating the link between the formation of human language and our relationships with other wild webs of animal life. Gallery visitors illustrated their animal idioms, drawing directly onto the gallery walls, inspired by the ducks, crows, squirrels and dogs that inhabit the park.
We feature works dealing with networked and pervasive technologies’ human and social effects. Web 2.0 Suicide Machine by moddr_ proposed an improvement to our ‘real’ lives by providing a one-click service to remove yourself, your data, and your profile information forever from Facebook, Twitter and MySpace, replacing your icon (again, forever) with a logo depicting a noose. They also reflect on new forms of exposure and vulnerabilities they give rise to, such as Kay’s Blog, by Liz Sterry, which replicated in physical space the unkempt bedroom of an 18-year-old Canadian girl based only on her blog posts, to eerie effect. The intention is to reach people in a way that has people question their relationship with those technologies. This does not mean promoting technology as a solution to art culture but exploiting it to connect with others and critique technologies simultaneously.
Below: Selection of images from original slide presentation – exhibitions & events.
On the 23rd of November, we opened our second space in the park, ‘The Furtherfield Commons’. It kicked off with The Dynamic Site: Finsbury Park Futures, an exhibition by students from the Writtle School of Design (WSD) featuring ideas and visions for future life in Finsbury Park, coinciding with the launch.
This new lab space for experimental arts, technology and community explores ways to establish commons in the 21st Century. It draws upon influences from the 1700s when everyday people in England, such as Gerrard Winstanley and collaborators, forged a movement known as the Diggers, the True Levellers, to reclaim and claim common land from the gentry for grassroots, peer community interests. Through various workshops, residencies, events & talks, we will explore what this might mean to people locally and in connection with our international networks. These include free software works, critical approaches to gardening, gaming and other hands-on practices where people can claim direct influence in their everyday environments in the physical world, to initiate new skills and social change on their terms. From what we have learned from our years working with digital networks, we intend to apply tactical skills and practices into everyday life.
Furtherfield is a network across different time zones, platforms & places – online & physical, existing as various decentralised entities. A culture where people interact: to create, discuss, critique, review, share information, collaborate, build new artworks & alternative environments (technological, ecological, social or both), examine & try out value systems. “A rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo.” (Brian Massumi 1987)
DADA, Situationism, punk, Occupy, hacktivism, networks, Peer 2 Peer Culture, feminism, D.I.Y, DIWO, Free Software Movement, independent music labels, independent thinkers, people we work with, artists, activism, grassroots culture, community…
This comprises technological and physical forms of hacking. It also includes aspects and actions of agency-generation, skill, craft, disruption, self-education, social change, activism, aesthetics, re-contextualizing, claiming or reclaiming territories, independence, emancipation, relearning, rediscovering, play, joy, being imaginative, criticalness, challenging borders, breaking into and opening up closed systems, changing a context or situation, highlighting an issue, finding ways around problems, changing defaults, and restructuring things – Claiming social contexts & artistic legacies with others!
This text is a re-edited slide presentation first shown at the ICA, London, UK, on 16th November 2013 (Duration 25 min). Intermediality: Exploring Relationships in Art. Speakers Katrina Sluis, Peter Ride, Sean Cubitt & Marc Garrett.
http://www.ica.org.uk/39077/Talks/Intermediality-Exploring-Relationships-in-Art.html
Transdisciplinary Community (TDC) Leicester UK 27th Nov 2013 (45 min). Institute of Creative Technologies. De Montfort University.
Two projects Gregory Sholette is currently involved in:
It’s the Political Economy, Stupid. Curated by Oliver Ressler & Gregory Sholette
http://gallery400.uic.edu/exhibitions/its-the-political-economy-stupid
Matt Greco & Greg Sholette | Saadiyat Island Workers Quarters Collectable, 2013
http://bit.ly/1eSI5kX
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All exhibitions, events & projects at Furtherfield – http://www.furtherfield.org/programmes/exhibitions
Jonas Lund’s “The Fear Of Missing Out” (2013) is a series of gallery art objects made by the artist following the instructions of a piece of software they have written. It has gained attention following a Huffington Post article titled “Controversial New Project Uses Algorithm To Predict Art “.
Art fabricated by an artist following a computer-generated specification is nothing new. Prior to modern 2D and 3D printing techniques, transcribing a computer generated design into paint or metal by hand was the only way to present artworks that pen plotters or CNC mills couldn’t capture. But a Tamagotchi-gamer or Amazon Mechanical Turk-style human servicing of machine agency where a program dictates the conception of an artwork for a human artist to realize also has a history. The principles involved go back even further to the use of games of chance and other automatic techniques in Dada and Surrealism.
What is novel about The Fear Of Missing Out is that the program dictating the artworks is doing so based on a database derived from data about artworks, art galleries, and art sales. This is the aesthetic of “Big Data“, although is not a big dataset by the definition of the term. Its source, and the database, are not publicly available but assuming it functions as specified the description of the program in the Huffington Post article about it is complete enough that we could re-implement it. To do so we would scrape Art Sales Index and/or Artsy and pull out keywords from entries to populate a database keyed on artist, gallery and sales details. Then we would generate text from those details that match a desired set of criteria such as gallery size and desired price of artwork.
What’s interesting about the text described in the Huffington Post article is that it’s imperative and specific: “place the seven minute fifty second video loop in the coconut soap”. How did the instruction get generated? Descriptions of artworks in artworld data sites describe their appearance and occasionally their construction, not how to assemble them. If it’s a grammatical transformation of scraped description text that fits the description of the project, but if it’s hand assembled that’s not just a database that has been “scraped into existence”. How did the length of time get generated? If there’s a module to generate durations that doesn’t fit the description of the project, but if it’s a reference to an existing 7.50 video it does.
The pleasant surprises in the output that the artist says they would not have thought of but find inspiring are explained by Edward de Bono-style creativity theory. And contemporary art oeuvres tend to be materially random enough that the randomness of the works produced looks like moments in such an oeuvre. Where the production differs both from corporate big data approaches and contemporary artist-as-brand approaches is that production is not outsourced. Lund makes the art that they use data to specify.
Later, the Huffington Post article mentions the difficulty of targeting specific artists. A Hirst artwork specification generator would be easy enough to create for artworks that resemble his existing oeuvre. Text generators powered by markov chains were used as a tool for parodying Usenet trolls, and their strength lies in the predictability of the obsessed. Likewise postmodern buzzword generators and paper title generators parody the idees fixes of humanities culture.
The output of such systems resembles the examples that they are derived from. Pivoting to a new stage in an artist’s career is something that would require a different approach. It’s possible to move, logically, to conceptual opposites using Douglas Hofstadter’s approaches. In the case of Hirst, cheap and common everyday materials (office equipment) become expensive and exclusive ones (diamonds) and the animal remains become human ones.
This principle reaches its cliometric zenith in Colin Martindale’s book “The Clockwork Muse: The Predictability of Artistic Change”. It’s tempting to dismiss the idea that artistic change occurs in regular cycles as the aesthetic equivalent of Kondratieff Waves as Krondatieff Waves are dismissed by mainstream economics. But proponents of both theories claim empirical backing for their observations.
In contrast to The Fear Of Missing Out’s private database and the proprietary APIs of art market sites there is a move towards Free (as in freedom) or Open Data for art institutions. The Europeana project to release metadata for European cultural collections as linked open data has successfully released data from over 2000 institutions across the EU. The Getty Foundation has put British institutions that jealously guard their nebulously copyrighted photographs of old art to shame by releasing almost 5000 images freely. And most recently the Tate gallery in the UK has released its collection metadata under the free (as in freedom) CC0 license.
Shardcore’s “Machine Imagined Artworks” (2013) uses the Tate collection metadata to make descriptions of possible artworks. Compared to the data-driven approach of The Fear Of Missing Out, Machine Imagined Artworks is a more traditional generative program using unconstrained randomness to choose its materials from within the constrained conceptual space of the Tate data’s material and subjects ontologies.
Randomness is ubiquitous but often frowned upon in generative art circles. It gives good results but lacks intention or direction. Finding more complex choice methods is often a matter of rapidly diminishing returns, though. And Machine Imagined Artworks makes the status of each generated piece as a set of co-ordinates in conceptual space explicit by numbering it as one of the 88,577,208,667,721,179,117,706,090,119,168 possible artworks that can be generated from the Tate data.
Machine Imagined Artworks describes the formal, intentional and critical schema of an artwork. This reflects the demands placed on contemporary art and artists to fit the ideology both of the artworld and of academia as captured in the structure of the Tate’s metadata. It makes a complete description of an artwork under such a view. The extent to which such a description seems incomplete is the extent to which it is critical of that view.
We could use the output of Machine Imagined Artworks to choose 3D models from Thingiverse to mash-up. Automating this would remove human artists from the creative process, allowing the machines to take their jobs as well. The creepy fetishization of art objects as quasi-subjects rather than human communication falls apart here. There is no there there in such a project, no agency for the producer or the artwork to have. It’s the uncanny of the new aesthetic.
Software that directs or displaces an artist operationalises (if we must) their skills or (more realistically) replaces their labour, making them partially or wholly redundant. Dealing in this software while maintaining a position as an artist represents this crisis but does not embody it as the artist is still employed as an artist. Even when the robots take artists jobs, art critics will still have work to do, unless software can replace them as well.
There is a web site of markov chain-generated texts in the style of the Art & Language collective’s critical writing at http://artandlanguage.co.uk/, presumably as a parody of their distinctive verbal style. Art & Language’s painting “Gustave Courbet’s ‘Burial at Ornans’ Expressing…” (1981) illustrates some of the problems that arbitrary assemblage of material and conceptual materials cause and the limitations both of artistic intent and critical knowledge. The markov chain-written texts in their style suffer from the weakness of such approaches. Meaning and syntax evaporate as you read past the first few words. The critic still has a job.
Or do they? Algorithmic criticism also has a history that goes back several decades, to Gips and Stiny’s book “Algorithmic Aesthetics” (1978). It is currently a hot topic in the Digital Humanities, for example with Stephen Ramsay’s book “Reading Machines: Toward an Algorithmic Criticism” (2011). The achievements covered by each book are modest, but demonstrate the possibility of algorithmic critique. The problem with algorithmic critique is that it may not share our aesthetics, as the ST5 antenna shows.
Shardcore’s “Cut Up Magazine” (2012) is a generative critic that uses a similar strategy to “The Fear Of Missing Out”. It assembles reviews from snippets of a database of existing reviews using scraped human generated data about the band such as their name, genre, and most popular songs. Generating the language of critique in this way is subtly critical of its status and effect for both its producers and consumers. The language of critique is predictable, and the authority granted to critics by their audience accords a certain status to that language. Taken from and returned to fanzines, Cut Up Magazine makes the relationship between the truth of critique, its form, and its status visible to critique.
We can use The Fear Of Missing Out-style big data approaches to create critique that has a stronger semantic relationship to its subject matter. First we scrape an art review blog to populate a database of text and images. Next we train an image classifier (a piece of software that tells you whether, for example, an image contains a Soviet tank or a cancer cell or not) and a text search engine on this database. Then we use sentiment analysis software (the kind of system that tells airlines whether tweets about them are broadly positive or negative) to generate a score of one to five stars for each review and store this in the database.
We can now use this database to find the artworks that are most similar in appearance and description to those that have already been reviewed. This allows us to generate a critical comment about them and assign them a score. Given publishing fashion we can then make a list of the results. The machines can take the critic’s job as well, as I have previously argued.
What pieces like The Fear Of Missing Out and Machine Imagined Artworks make visible is an aspect of How Things Are Done Now and how this affects everyone, regardless of the nature of their work. This is “big data being used to guide the organization”. To regard such projects simply as parody or as play acting is to take a literary approach to art. But art doesn’t need to resolve such ontological questions in order to function, and may provide stronger affordances to thought if it doesn’t. What’s interesting is both how much such an approach misses and how much it does capture. As ever, art both reveals and symbolically resolves the aporia of (in this case the Californian) ideology.
The text of this review is licenced under the Creative Commons BY-SA 3.0 Licence.
Featured image: Kilmainham Gaol, Dublin, Ireland (Image Credit: Laura Forlano, July 2012)
He looks around to make sure no one is watching him and sets the phone down next to the boxes of cheese. The little silver telephone fits the spot strangely well. It looks as though it has always been sitting there. Having left Shirakawa’s hand, it is now part of the 7-Eleven. –Haruki Murakami, After Dark
Murakami’s novel After Dark (2007) which refers to both the mobile phone as well as the retail environment of the 7-Eleven seems a fitting place to begin a review of a new media art project that uses communication technology to explore and inhabit the space of shopping malls. Digital technologies have enabled the emergence of new forms of participatory art, design and creative practices that inhabit urban, communal and personal spaces in a variety of interesting ways. In June 2012, as part of the Midsummer Festival in Cork, Ireland, the German group Ligna, which consists of media theorists and radio artists, created a radio ballet entitled The First International of Shopping Malls. The ballet was part of a series of events called Parallel Cities that was curated by Lola Arias and Stefan Kaegi.
The First International of Shopping Malls builds on over a decade of new media art that has transformed and appropriated city spaces. For example, in 2003, the Chaos Computer Club’s Project Blinkenlights took, as its canvas, the façade of the former East German Department of Education in order to create a massive urban game board and visual display by programming the lights in each of the windows. Similarly, at the neighborhood level, in 2011, Timo Arnal created, Immaterials: Light Painting WiFi, a project that used Arduino-boards equipped with sensors to illustrate the shape of wireless networks on the streets of Oslo. Finally, at the level of the body, Mark Shepard’s Sentient City Survival Kit included an umbrella outfitted with infrared LEDs that are only visible to surveillance cameras.
One of the factors that has made it possible to use communication technologies to create interactive art of this nature is the decline in the cost of interfaces such as urban screens, devices including radio transmitters/receivers and portable computers, as well as sensors and LEDs. These technologies (as well as their invisible properties) offer artists, designers and programmers new materials with which to work. In addition, as art and design move outside of established institutions such as museums and galleries, city spaces and other non-traditional spaces become attractive settings for public and participatory projects.
These projects challenge the separation of physical from digital, global from local, private from public, and individual from community, which are relevant to the understanding of the way in which digital technologies are enabling hybrid spaces of creativity, curation and innovation. These hybrid spaces are the locus of emergent forms of organizing (Humphreys, 2008), new modes of citizen engagement (Foth, 2008; Foth, Forlano, Gibbs, & Satchell, 2011) and novel ways of experiencing urban space (Ito, 2003). Specifically, terms such as net locality (Gordon & Silva, 2011), code/space (Kitchin & Dodge, 2011), situated technologies (Shepard, 2011), and codescapes (Forlano, 2009) have been introduced in order to better articulate the ways in which digital interfaces, artifacts and networks have been integrated into urban space.
For the The First International of Shopping Malls, the artists built on the pervasive presence of earbuds and headsets among urban dwellers in order to take participants on a one-hour journey through a typical suburban shopping mall. About 25 participants were given a radio headset tuned to a specific station along with instructions about how to interact with the people, objects and spaces that they encounter as they navigate the mall. The artists created stories that gave voice, quite literally, to the architecture and the objects within the mall. The artists describe the shopping mall as, “a utopian place. It’s like a whole city is assembled in an idealised form below a glass roof. The goods displayed in shop windows sit there and patiently await their future owners.”
According to the curators of Parallel Cities, the suburban shopping mall, which is typically thought of merely as a functional space is an “observation station for urban life” that is “instantly recognizable” anywhere in the world. The First International of Shopping Malls appropriates this functional and commercial setting for the purpose of critique, reflection and participation — using the geography of radio receivers to demarcate the boundaries of the project. For example, if one wandered too far away from the transmitter on one side of the mall or moved to a different level of the mall, one would suffer from static interruptions and lose reception, thereby temporarily disappearing from the network of participants, which was constituted by people and their radio receivers (along with other devices and objects that they carried on their person).
One of the objectives of Parallel Cities is to render personal, local and contextual that which has been designed for anonymous groups of strangers. In addition to the shopping mall, they include hotels, factories, train stations, rooftops and libraries in their project. In The First International of Shopping Malls, participants alternate between their individual and collective experiences of the radio-ballet. For example, while many of the activities that participants are encouraged to conduct in the mall can be done independently (such as walking quickly or slowly), at key points, participants are asked to follow a stranger around the mall mimicking their body language or join a group of other participants in a flash mob-like cluster for a few strides and then quickly disperse. Unlike a typical museum setting, which allows individuals to form relationships with specific artworks, or theatrical settings, which allow for the formation of a communal experience, this project allowed, people participate in temporary assemblages that traverse the terrain of the mall.
At one point, participants are asked to reimagine the space of the shopping mall with an alternative purpose in mind. We scribble our ideas on small, white, square slips of paper and, upon spotting other participants, discretely exchanged them without speaking. “Coworking space,” I had scrawled hastily, only to find that the participant with whom I’d exchanged slips had the exact same vision for the mall. In this way, the project challenged participants to engage in a dialogue and critique about the resources available in the mall without speaking a word aloud to one another.
Digital technologies have enabled new forms of surveillance and control. In the case of The First International of Shopping Malls, at the beginning of the broadcast, participants are given a brief history of the architecture of the shopping mall. The artists reference the similarity between Bentham’s panopticon, which was designed for the surveillance of prisoners, and the typical design of a suburban mall. This includes the oval structure of the inner walkways as well as the multiple levels, which can be observed at one time.
Because the artists had not gotten permission from the mall, participants were specifically asked not to mention the venue of the event using social media, which would have put an abrupt end to the project. In our case, towards the end of the hour-long event, the mall security became aware that something unusual was going on. This is because our coordinated behavior—walking quickly and slowly, joining together and breaking apart, jumping, exchanging notes—was noticeably bizarre. This caused several security guards to cluster together, wondering what was going on and, perhaps, questioning the location of the transmitter. We had been told specifically not to acknowledge any recognition of the event’s facilitator. While uneasy about the possibility of being confronted by the security guard, I was temped to capture photos of the congregating guards and succeeded in my own act of sousveillance.
Another unique feature of the event was the way in which the architecture and objects were animated in the space of the mall. Specifically, participants were asked to gaze at a window display, enter a store, and pick up an object, all the while listening to a fictional dialogue with the object itself. For example, through the narration on the headset, an object such as a hat would seem to call out “Choose me,” and, meanwhile, another object such as a scarf would seem to clamor for attention saying, “No, choose me.” In this way, the artists were able to bring to life the sentiments, social lives and working conditions of the objects themselves in order to create greater awareness about consumer culture.
In summary, The First International of Shopping Malls, uses radio technology to move artistic practice outside of traditional venues and appropriates commercial space for public participation. While the interaction between the artists and the participants is primarily one-way (the participation itself is not being captured or recorded and there is no way for the participants to talk back to the artists), the project relies on the participants to create the project. While this approach uses technology to go beyond traditional artistic practice, one might imagine ways in which the project might be made even more interactive and participatory using mobile devices to document and record different instantiations of the event. Furthermore, using radio technology, which demarcated the physical boundaries of the event, the artists were able to create a kind of community of practice (Lave & Wenger, 1991) within the space of the shopping mall that was engaged in a critique of consumer culture.
Use the Rubik’s Cube simulator if you don’t have a real puzzle to play with. Set a random scramble and try to figure out the solution!
Featured image: UBERMORGEN, CCTV, A Parallel Universe, (2013)
Rachel Falconer’s article is written in response to an interview conducted with lizvlx and Hans Bernhard from Ubermorgen. ‘userunfriendly’ is their first solo exhibition in London and presents a performative study of creeping paranoia. It is on show at Caroll/Fletcher Gallery through October until 16th November 2013.
“You one of those right wing nut outfits?” inquired the diplomatic Metzger. Fallopian twinkled. “They accuse us of being paranoids.” “They?” inquired Metzger, twinkling also. “Us?” asked Oedipa. The Crying of Lot 49 [1]
The Edward Snowden soap opera is far from over as the media and social commentators continue to perform a one-way polylogue with the absconded, muted Snowden. The furore and essentialist reactions directed towards Snowden, the latest in a burgeoning breed of leaky information gatekeepers, has resulted in a pervading sense of neuroses creeping across the digital commons. One of the many media stunts to emerge from this backdrop of encroaching paranoia was Kevin Poulsen’s encrypted open letter to Snowden on the Wired website [2] . With the theatrical opening gambit of: “Don’t read this if you aren’t him”, this mimetic conceptual poke served only to simulate a tunnel vision debate about the authenticity of the encryption, and several bravado attempts to crack the PGP key.
The Snowden case is symptomatic of our current condition of post-panoptic surveillance, whereby practices of data and behavior tracking have led to an extension of Foucault’s panoptic theories beyond the notion of hierarchical surveillance. Recent debates about post-panoptic practices indicate a shift from direct, embodied surveillance, to distributed, mobile surveillance manifested in the likes of PRISM, XKeystore and Tempra. The normalization of the “need to watch and be watched” generated by our information society is ruptured in this instance by Snowden.
The combination of public outcry – exemplified by the recent anti-surveillance march in Washington – and the intensified interest in the phenomenon of mass surveillance on the hype cycle, has resulted in a number of workshops and art exhibitions dedicated to “giving the power back to the people”. Eyebeam recently hosted PRISM Breakup [3], a three-day event programme of workshops and talks which sought to offset the publically perceived imbalance in our mutual surveillance society by making the tools of the anti-surveillance trade accessible to everyone. This strategy of using the ecology of the art institution as an alternative site of knowledge production, and a locus of retreat and pedagogical resistance, is well rehearsed in the history of contemporary art. However, by concentrating on providing the tools of counteraction against the omnipresent, invisible, panoptic enemy of surveillance, perhaps the bigger picture of the phenomena of neurotic binarisms and shifting psychological territories are in danger of being overlooked.
In contrast to these oppositional tactics, the artists and digital actionists, UBERMORGEN, approach phenomena such as Snowden, and other symptoms of perceived hyper-capitalism from a fuzzier, more ambiguous subjectivity. In their quest for knowledge production and social dialogue, the artists present and re-present the conditions of our global socio-political situation as physical and ephemeral catalysts of open-ended investigation. Through their encounter with the digital, they craft physical manifestations of data, acting as a mobile research unit producing knowledge about real life conditions that spike their interest. Their widely questioned claim to neutrality is defended in their Manifesto; they are very specific about their position as actionists as opposed to activists, and place the physicality of the human body and neurological system at the core of their practice: “we are not activists. we are actionists in the communicative and experimental tradition of viennese actionism – performing in the global media, communication and technological networks, our body is the ultimate sensor and the immediate medium”.[4]
This position of political evasion hinges on a willful abstraction, and distancing from, their chosen subject matter. They activate this abstraction through their instinctive aesthetic strategy, creating a distance from the negative connotations popularly attributed to their subject matter by the media. The work Vladimir (2013) is a clear example of this obfuscating, poetic tactic the duo employ. Here, a CCTV monitor is split into four separate screens and located on the first floor of the gallery space. One screen shows the actual painting of Putin, (located in the lower gallery space). This takes the form of a pixelated painted canvas of Putin onto which an animated GIF is projected. Another screen from the CCTV plays footage of Putin at a press conference. On the remaining screens, there are images displaying alternative subjectivities of how Putin sees himself: heroic of the leader with a naked torso whilst partaking in the popular macho pursuits of fishing and shooting. These images are set up to relate to the animated canvas located and distanced in the lower gallery space. The relational dynamics between the works create a fragmented picture of the subject’s identity, and, as lizvlx suggests, this sense of abstraction and distancing through the aesthetics employed, neutralizes any characteristic of evil popularly associated with the subject himself. The viewer is left to come to an independent conclusion.
In fact, the entire show is a tightly choreographed relational synthesis. As I experience Hans and lizvlx’s all-encompassing Gesamtkunstwerk , I get the distinct, and unnerving impression that I am being watched. Call me paranoid if you will, but as I navigate through the show, I can’t help but notice that the familiar white cube space is punctuated and peppered by an abundance of CCTV cameras, staged situations of observation, identity –skewing overblown pixels, Crime Watch images and performative interrogation environments, placing the user cum visitor in an uncanny feedback loop of reactionary surveillance.
UBERMORGEN’s collaboration with Aram Bartholl, Net.Art (2013), is the first work I encounter as I enter the gallery. Bartholl’s OFFLINE ART [5] curatorial strategy takes the form of five wall mounted routers locally broadcasting a selection of UBERMORGEN’s net.art pieces disconnected from the Internet. These hermetically-sealed works make the visitor aware that they are being choreographed and controlled from the off – initiating the uninitiated and reminding those familiar with their work that it is never a comfortable ride. Bartholl’s new model of exhibition format is a subtle method of instilling a sense of self-awareness in the viewer. Throughout the show, UBERMORGEN continue to stimulate a gradual awareness, and partially expose, the systems of coercion, control mechanisms and surveillance techniques employed by institutions of public authority. As the tectonically-shifting position between fact and fiction continues to play out throughout the show, UBERMORGEN’s empirical probing of corporate and governmental control mechanisms becomes increasingly apparent.
The historic work [V]ote-Auction(2000)- whose virtual subversion resulted in RL FBI intervention- is presented here as an impotent, dormant archive, its stacks of legal documents masquerading as a minimalist sculpture. However, the two new works CCTV(A parallel universe)(2013) and Do You Think That’s Funny? – The Snowden Files (2013) directly implicate the viewer in the act of surveillance. Both pieces are staged situations of observation and temptation. Do You Think That’s Funny is accompanied by a piece of pseudo fan fiction cum interview between UBERMORGEN and Edward Snowden available in the gallery catalogue. The installation itself is a contemplative, yet menacing frieze of control. According to the artists, they are in receipt of an encrypted data package from Snowden. The staged scenario tantalises the viewer/user by offering up Snowden’s dark data on wall-mounted Ethernet cables. A bench is provided for the viewer directly in front of the cables to contemplate the magnitude of their content. This meditative state is rudely interrupted by a looming white CCTV camera fixed to the parallel wall, levelled at the spectator. I am already aware of the presence of this electronic eye having encountered CCTV (A Parallel Universe) (2013), in the previous room. In this piece, the glaringly crisp images on the TV monitor clearly depict the panoptic gaze of the CCTV cameras installed in every part of the gallery, creating an infinite visual feedback loop.
Call me paranoid, but as I navigate the exhibition, I become increasingly self-conscious. White cube galleries usually have the feel of surveyed environments, with their incumbent aura of silent contemplation, lurking invigilators and clearly posed CCTV cameras, but this is a different kind of watching. The fact that the work itself is not the main focus of the all-seeing eye of protection slowly dawns on me, and I feel that I am in fact the star of the show. As I crawl along the tunnel to reach the work Superenhanced (2013), I am aware of the fact that I am enacting a part, and white mice, hamster wheels and men in white coats come to my mind as I glimpse the two chairs and the hand cuffs ahead of me. As I look up and see that my confession can be clearly observed by visitors above me through the upper gallery stairwell, the picture is completed and I take my position in this physical simulation of a video game environment.
UBERMORGEN’s work implicitly involves and implicates both the visitor and themselves in a complex, and increasingly distorted feedback loop of knowledge production and surveillance. It is not, however, the surveillance of the Weiwei-esque, ever-present CCTV camera that starts to destabilise me, but the internal, cognitive surveillance prompted by the ambiguous narrative of the works. As the camera becomes assimilated and internalised, I am compelled to survey myself.
This week the ReadingClub organised two live reading sessions with us at Furtherfield. The first performance with Aileen Derieg, Cornelia Sollfrank, Dmytri Kleiner and Marc Garrett, was based on a chunk of A Hacker Manifesto by McKenzie Wark [version 4.0]
The second session took as its starting point one of the ARPANET dialogues from 1975 -1976. What we first took as a historical moment, encapsulating the collision of modernist and postmodernist art world figures and the disruptive effects of digital network communications, turned out to be an ongoing research project by Bassam El Baroni, Jeremy Beaudry and Nav Haq.
Alessandro Ludovico, Jennifer Chan, Lanfranco Aceti and Ruth Catlow reenacted the historic collision in a contemporary context. The result – a new text called “Postinternet is net.art’s undefined bastard child”
You can view the recordings of both performances here:
ARPANET dialogues
Hacking, The Hacker Manifesto
Below we reproduce a translation of an interview by Annick Rivoire originally published in French for the publication Poptronics. Read original article here.
One might think (wrongly) that the “Reading Club” is a mixture of a “Fight Club” and a “Bookfighting” (book battles invented by a community from Orleans called Labomedia). Rather, the activity of the “Reading Club” is above all reading – an active, participatory, collaborative and performative reading on the Internet.
Annie Abrahams and Emmanuel Guez wanted this project to be nomadic and shared, so they invited, in addition to IRL institutions like the BPI Centre Pompidou or Le Jeu de Paume in Paris, network partners like Furtherfield, an art and digital resource center in London, and Poptronics. When Annie Abrahams (a challenging net-artist whose work Poptronics likes) told us about the “Reading Club”, it did not take us long to accept the proposition! This “interpretative arena” had a taste for experimentation.
So, in June began the first test (which I attended). Then, during the summer and early September, the device has been refined and made public. An extract from “A Hacker Manifesto” by McKenzie Wark, and snippets of the “Arpanet Dialogues“, these pre-chatrooms conversations from the 1970s attended by Yoko Ono, Marcel Broodthaers, Jane Fonda and a certain Governor Ronald Reagan, have been chosen for the fourth online session with Furtherfield on Monday 21st and Tuesday 22nd of October.
Annie Abrahams and Emmanuel Guez both have a taste for experimentation. The proof? They immediately organised a “Reading Club” session where the two of them answered me a few questions about their project! What you read below is the final version of this session. The writing process is visible on the Reading Club site (by clicking on the arrow at the top right).
Annick Rivoire: “Reading Club” is an “online performative reading experiment.” In this statement, what term do you prefer?
Annie Abrahams & Emmanuel Guez: Experiment, in terms of both the act of reading (and writing) in common and the audience to actively attend these readings through a chat window. Experiment, also in the sense that piloting the project and its various sessions allows us to experiment with different conditions of reading and writing.
Reading is generally considered something a little outdated (see: the complaints by publishers and teachers on the crises of the book and of writing since the advent of the digital). Is it to rehabilitate reading you’ve imagined “Reading Club”?
In the Reading Club, reading is not unthought, not a background. The text can be easily decomposed and recomposed. The radicality of text becomes visible. Words; the text allow what images can only indicate. They are closer to the temporality of thought, bring along a certain slowness, a return to attention. Text gives way to reflection. An image globalizes, leaks everywhere, encompasses but does not travel.
You invite critics, artists, performers to participate collectively, to share the “Reading Club” experience. Why?
Because without participation, the “Reading Club” does not work! It is a device made for people who love to read, who love to write and love to share. These three actions are combined and objectified in a single time and place. But the “Reading Club” is not restricted to the world of art and literature. We would love to propose a “Reading Club” to a wider audience over a longer period, for example in a series of sessions of 10 to 12 consecutive hours.
You explain that the “Reading Club” was inspired by the “Reading Group” of Brad Troemel and the “Department of Reading” by Sönke Hallman. Can you tell us more about these experiences?
Existing texts are at the center of both projects who ask to be payed attention to, to read and then discuss these together. Troemel proposed this on irregular intervals in the rather classical context of a workshop called Reading Group, whose archives unfortunately disappeared from the net. The project by Sönke Hallman, “Department of Reading” (2006), however is much closer to ours. It is an interface, a combination of a chatbot, written in python, and a wiki, developed to slow down and explore the act of reading and writing in a group.
Having participated in the first experiment of the “Reading Club”, I was surprised by the latitude of intervention of the “readers” to the text, which transformed this test session of shared reading into a writing session, or rather a writing “battle”. A very amusing, stimulating and annoying play with simple rules, which resulted in the complete rewriting and inevitably in the emergence of another text on arrival. Did you plan this “killing game” to revisit in color?
Please, take into account that the session in which you participated was a test session during our residency at Zinc (Marseille). We carefully chose which player was going to work on what tesxte (sic), but the interface had many bugs, so, we were forced to do only one tesxte with a group of very heterogeneous readers. It is true that the use of color leads to toying with the visual side of the interface, especially if the text is turned on itself, if it offers a thought biting its tail.
How did you set the cursors and determine, or even change, the rules of the “Reading Club”?
The setting is not fixed. For each session we redraw the reading modalities, the rules of the game. We can act on the identification of the readers (by removing the color, they become anonymous), the duration and length of the text and the number of characters to be used. For example, a short time will not allow a lot of thought. A low upper limit of the number of characters forces the readers to play with the letters rather than with sentences, etc. The choice of the readers in relation to the original text is also important. We know for example that a performer seeks to occupy space, to make the interface “shake”.
In the presentation of the project you mentioned the notion of the “interpretive arena”. One can not help but think of the violence of comments, tweets, the most aggressive sentences thrown as fodder on the Internet by the blogosphere, etc, in short, that other textual arena which is the Web as a whole and, even more, the social networks of Web 2.0. To what extent “Reading Club” is a criticism, a mise en abyme of that arena?
The “Reading Club” does not criticise the aggression you describe. Moreover, the “Reading Club” is not a critical apparatus, but something that makes possible a new form of criticism carried out jointly. What “Reading Club” reveals is that a shared reading and writing passes through emotions, through tensions, through power lines, but also through a certain euphoria. Any act of writing involves a certain symbolic violence. This violence is translated here by the control of the writing space (do not forget that the number of characters is limited). What remains in the end is a text and the whole session which we keep as an archive and which is visible through a timeline. They embody the thoughts, affects, the emotions of the readers at that time.
What is the status of the final text, who is the author, and how is this status questioned in the various experiments (in single or multiple configurations from Zinc to the Bpi Beaubourg)?
We have our specialist Antoine Moreau, one of the founders of the Free Art License, under which we placed all the productions of the Reading Club. We are less interested in the final text of a session than in the process of reading and the accompanying writing strategies. To answer the question, let’s say that the final text is both the product of the device we designed and a process that is the work of the invited readers, without forgetting the author of the original text (in French “texte originel”) – you will notice that we did not use the concept of “original” (in French “original”). We are therefore multiple authors…
The appointment, the performance, the text… All concepts that are being undermined on networks, where fragmented practices, the consultation and mass production of images (video, photo) push in a different direction. Doesn’t your project, which advocates writing (that of an author, those of the readers), promote something “old fashioned”, i.e. the weight of words rather than the shock of the photos?
If the question is “are we old fashion” (sic), we reply that it is cheesy to oppose text to image (it can not be seen but we are laughing). If you look at the timeline, you can see a film of a shared thought in the making.
Is the choice of texts the result of long discussions? The authors are (as far as the first editions of “Reading Club” are concerned) rather engaged personalities (artists or researchers). Are you inventing a form of controversy 2.0?
Not necessarily. The texts are selected jointly with the partner of the session. Sometimes it takes a long time, sometimes we immediately have an intuition that appeals to all partners. We aspire to have the selected texts reflect the concerns of the structure or the institution hosting the session (and ours). We do not seek controversy, it is already there all the time, everywhere. Rather we want to create a situation of confrontation, to ask the reader the question of how to choose his place, his attitude towards others who treat and mistreat the text along with him, to put him in the position to see evolve a thinking in which he participates, but can not control.
“Reading Club” goes international with this new edition with Furtherfield. How do you handle the issue of language? At the BPI, the selected text was signed by Mez, an artist who, as you explained, “wrote her names and texts as names of application and lines of computer code.” A solution to the issue of translation?
The language is that of the original text. Difference exists. Take a look at Mez 3.9.11 _i_dentity_x _or[s]c[h]ism_ (2005-09-29 06:17)
Contact: info@furtherfield.org
Furtherfield Gallery is pleased to host One Minute Volume 7, a new series of shorts curated by filmmaker Kerry Baldry. The screening is accompanied by One Minute Remix, a selection of moving images from One Minute Volumes 1-5.
One Minute Volume 7 is the latest in the edition of One Minute artists’ moving image programmes curated by artist and filmmaker Kerry Baldry, and includes an eclectic mix of artists’ moving image constrained to the time limit of one minute. The One Minute programmes have been screened at numerous galleries, artists spaces and film festivals worldwide.
Volume 7 includes work by John Smith, Rose Butler, Tony Hill, Steven Ball, Alexander Costello, Leister/Harris, Kayla Parker and Stuart Moore, Louisa Minkin, Claire Hope, Max Hattler, Guy Sherwin, Steven Woloshen, Lynn Loo, Lumière and Son, Tansy Spinks, Gary Peploe and Peter Nutley, Eva Rudlinger, Michael Szpakowski, Zhel (Zeljko Vukicevic) , Matthias Kispert, Stuart Pound, Sellotape Cinema, Alex Pearl, My Name Is Scot, Kerry Baldry, Esther Johnson, Marty St. James, Nicki Rolls, Katherine Meynell, Chris Paul Daniels, Riccardo Iacono, Edwin Rostron, Martin Pickles, Grant Petrey, Annabel Dover, Kelvin Brown.
One Minute Remix (a selection from One Minute volumes 1 – 5) was originally compiled by Kerry Baldry for a screening as part of Kayla Parker and Stuart Moore’s moving image event ‘Welcome to The Treasure Dome’ (in a ICCI 360 Arena, which displayed audiovisual/moving image artwork via 5 projectors, with the screens arranged in a ‘seamless’ circle wrapped around the inside of a 21-metre diameter dome, and with surround sound) on behalf of ICCI (Innovation for the Creative and Cultural Industries) with Plymouth University; part of Maritime Mix – London 2012 Cultural Olympiad by the Sea programme, Weymouth (10 and 11 August 2012).
The programme includes work by Martin Pickles, Alex Pearl, Steven Ball, Gordon Dawson, Michael Szpakowski, Virginia Hilyard, Barry Lewis, Nick Jordan, Claire Morales, Nicki Rolls, Kerry Baldry, Riccardo Iacono, Eva Rudlinger, Zhel (Zeljko Vukicevic), Esther Johnson, Sam Renseiw and Philip Sanderson’s Lumière & Son, Katharine Meynell, Stuart Pound, Kayla Parker and Stuart Moore, Ron Diorio, Daniela Butsch, Guy Sherwin, Louisa Minkin, Rose Butler, Dave Griffiths.
+ More information: http://oneminuteartistfilms.blogspot.co.uk/
Produced by Furtherfield.
Kerry BaldryKerry Baldry is an artist/filmmaker who works in a range of media including film and video. She is a Fine Art Graduate from Middlesex University who went on to study film and video at Central St. Martins. Her first commissioned film was to make a film for BBC2’s One Minute Television which was broadcast on The Late Show – a joint collaboration between BBC2 and Arts Council England.
Over the last 6 years, aside from producing her own work, she has been curating, promoting and distributing a self initiated, unfunded project titled One Minute, One Minute Volume 7 being the latest in the edition. One Minute Volumes 1-7 are an eclectic mix of artists moving image constrained to the time limit of one minute and includes over 80 artists at varying stages of their careers.
Furtherfield Gallery
McKenzie Pavilion, Finsbury Park
London N4 2NQ
T: +44 (0)20 8802 2827
E: info@furtherfield.org
Furtherfield Gallery is supported by Haringey Council and Arts Council England.
Contact: info@furtherfield.org
Visiting Information
Imagine visiting Finsbury Park in the not too distant future…
You could explore the sensory and medicinal properties of different plants in the Discovery Meadows; Play Glades offering people of all ages a range of adventurous physical challenges within a variety of wooded areas; visitors could go on a cultural tour of ‘natural rooms’ in the park, accessed through mobile devices; community gardens used for a wide range of events supporting and encouraging local people to come together around pleasurable growing, foraging and cooking events; Memorial Gardens providing an inspiring and elegant space for people of all faiths to take a moment to remember their passed loved ones.
These are just some of the futuristic ideas that students from the Writtle School of Design (WSD) will be exhibiting at Furtherfield that imagine possible futures for Finsbury Park.
In early 2013 WSD students created plans for the whole park, and then a number of individual designs for key spaces within the Park. They were asked to look at ways that Finsbury Park and Furtherfield could both provide more pleasing spaces and encounters for the surrounding communities. The opening of Furtherfield Commons, a new pop-up art, technology, and community space located within the park at the Finsbury Park Station entrance, will also be celebrated. Furtherfield Commons will serve as the venue for presentations from Furtherfield and Writtle School of Design students and staff about their visions for the park alongside an exhibition of the full array of inspirational images and ideas, and video interviews with the designers. Visitors are invited to make comments.
Press view and VIP private view: Friday 22 November, 2-5pm
Open 12-4pm Saturday and Sunday for two weekends. 23, 24, 30 November and 1 December 2013
Local people are encouraged to come along and respond to the designs.
Furtherfield Commons
Finsbury Park
Near Finsbury Gate On Seven Sisters Road
E: info@furtherfield.org
Furtherfield Gallery is supported by Haringey Council and Arts Council England.
Featured image: XRay by Claude Chuzel
“One of the most consequential outcomes of this ubiquitous mode of organization of social life is that we have become so accustomed to relating to space in “either/or” and “here/there” terms that we have become mentally trapped inside this binary border-based model, making it difficult to imagine alternative ways of territorial organization.” Popescu [1a]
Maps inform us where things are situated. The borders depicted in each map propose a different view on the social conditions, attitudes, and interactions with others in the world. The AntiAtlas of borders project shows us different approaches for understanding “the mutations of control systems along land, sea, air and virtual states” and their borders. It has done this through the combined contributions of social and ‘hard’ science researchers and artists, all engaged in creative practices including Internet art, tactical geography, filmmakers, performers and hackers. The project also includes other relevant actors such as people working as professionals for customs agencies, surveillance industries and the military.
This is the first of two interviews with Isabelle Arvers who has collaborated with the IMERA team (the Mediterranean Institute for Advanced Research of Aix-Marseille University), to curate this expansive and dynamic project. The first interview discusses the operational side of the project and the next interview examines selected writings, artworks, projects and ideas featured as part of the project.
Marc Garrett: Before we begin the interview it would great if you could tell us when and where the exhibitions, events, publications and other parts of the project begin?
Isabelle Arvers: The AntiAtlas programme will run from 30 September 2013 to 1 March 2014 and will be composed of five initiatives: an inaugural international symposium, two exhibitions, a website and the publication of a book. The International Conference will be held from 30 September – 2 October 2013 at the New Conservatory of Aix en Provence. The main aim of this conference is to present the results of the interdisciplinary workshops that took place in the last two years at IMéRA et at the Higher School of Art of Aix-en-Provence.
The AntiAtlas of borders will present two interlinked exhibitions. The first will take place in Aix-en-Provence at the Musée des Tapisseries from 1 October to 3 November 2013. The second will take place in Marseille at La Compagnie creative arts centre from 13 December 2013 to 1 March 2014. The two exhibitions will present works developed in collaboration with social scientists, researchers in the hard sciences and artists. They will offer several levels of reading and forms of participation. Visitors will discover new works, engage with transmedia documentation and participate in experiments. They will interact directly with robots, drones, video games, walls and systems. The aim is to encourage everyone to reflect on how we are directly and personally affected by the transformations of borders in the 21st century.
The final version of the website www.antiatlas.net/eng is an online extension of the exhibitions. Most importantly, the website provides access to works of net.art and artistic interventions in the form of an online gallery of works. This website and its documentation will extend the progress and reach achieved by the project. It will act as an archive and documentation site for the general public, artists, researchers and institutions.
In 2014, an AntiAtlas of border publication will be produced, gathering publications of researchers and artists on different and selected themes of the international conference and the two exhibitions.
MG: What has been your involvement with AntiAtlas?
IA: When I met the IMERA team (the Mediterranean Institute for Advanced Research of Aix-Marseille University), they were looking for a curator in order to disseminate the outcomes of the past three years of seminars they conducted on borders. I saw this project as a great opportunity as there was a political dimension within it that attracted me. Also, I am deeply interested in tactical media and tactical geography and by new forms of visualisation and new aesthetics related to systems of control like drones, robots, satellites or surveillance cameras.
I wanted to create a participatory event that would allow people to follow our work online and offline. I also wanted to mix different kinds of works from research in the hard and social sciences to artistic installations, websites, games and videos. To do so, we decided to create a website www.antiatlas.net that would gather artworks, research articles and interviews, an online gallery and also all the presentations given during the different seminars conducted by IMERA on borders during the last three years. Thanks to the website, we were able to launch a call for proposals as I wanted to get the testimonies and the voice of migrants about their vision on borders.
Very quickly we understood that we needed to get more funding and partners, so I offered to seek media, private and institutional partnerships as well as to manage the communication of the entire event. This fundraising was needed to promote a global vision of the antiAtlas of borders and to link all the parts of the event: from the website, to the call for proposal, till the international seminar and the two exhibitions. Because of my multiple engagements in the project, I became one of the 5 co-producers of the programme.
MG: This is a complex project. It is noticeable that there is a diverse and dynamic, cross section of different practices being bridged to make it all happen. Has it been difficult to combine all of these practices so they can relate to each other coherently?
IS: Combining all these different practices was a wonderful and exciting adventure. During one year and a half, we worked very closely with the scientific and artistic committee and tried to exchange as much as possible between different visions and ways of working. I learned a lot from researchers and was amazed by the deep understanding and knowledge they have on the subject of borders. Thanks to their research and to their approaches to this issue, I was able to get a very diverse understanding of this complex subject. From me, they discovered the online communication and the power of the web and social networks to diffuse and share the information. They also got a better understanding of the tactical media field and we learned so much from each other that this experience is already a beautiful success in sharing and learning from passionate human beings. I come from media art world and I tried to respond to a scenario that the committee conceived with artists’ works, which is a very different way for me to work. This time I had a script to follow; the way I did it was to try to find some ludic interactive installations, as well as documentary projects or games, in order to allow the experimentation of the subject by the audience. They trusted me even if it wasn’t a field they knew well.
MG: Do you feel that it has de-compartmentalised these varied fields of knowledge successfully?
IS: What was particularly positive in the last seminars on borders we organised was that they allowed plenty of time to discuss and facilitate the exchange between the different perspectives. A specific example is a game project resulting from the collaboration between an anthropologist – Cédric Parizot – and a interactive laboratory from the Superior art School of Aix-en-Provence, which is led by the artist and game designer Douglas Edric Stanley. The idea is to create a “crossing industry game” drawing on the data collected by Cédric Parizot on trafficking. The collaboration addressed the visualisation, contextualisation and re-appropriation of a field of knowledge through game mechanics. I think that this experience really enriched all the team. The anthropologist was able to analyse his data in a different way, while the interactive students got closer to the reality of trafficking as they were experiencing through a game.
There are many other cross-disciplinary projects made in the framework of the AntiAtlas. I would say that what we want is to multiply different experiences and forms of knowledge on borders across and between the separate but intersecting fields of art and science. The exhibition is conceived to mix everything: research through the documentation space, researchers’ interviews, counter cartographies, interactive installations on biometrics and surveillance technologies, applications to divert control systems and documentaries providing a wider point of view on multiple dimensions of borders and their representations. Artists and researchers meet three times per year, some of them collaborate on trans-disciplinary projects, so that the conditions to meet and de-compartmentalise these fields are created. This is only the beginning. The process still needs to be pushed and facilitated as the antiAtlas is an attempt to create a new kind of cross-disciplinary encounter, let’s see how it will evolve!
This first interview with Arvers attended to organisational and operational aspects of the inter-disciplinary border-crossing within AntiAtlas project. The complex task of collating, sharing and collaborating to make it all happen at all could use its own map. The processes and engagements that evolved as the project took shape involved a collaboration of many different fields and practices, individuals, groups, organisations and cross cultural relations. This transdisciplinary approach helps us to unpack the deep levels of the meanings and value of crossing borders, in an organisational sense. Their dedication to transcend the seemingly ‘scripted’ blockages and restraints echoes a strong feeling that we need to re-assess the maps given to us, and what this means.
“What is needed to escape the modern mental “territorial trap” are ways of seeing and drawing that reveal what the geographical abstraction of the borderline obscures. It is only in this way, then, that we will acquire the necessary tools to think through a technologically enabled world of border flows and portals” Popescu.[1b]
Isabelle Arvers is an independent author, critic and exhibition curator. She specializes in the immaterial, bringing together art, video games, Internet and new forms of images by using networks and digital imagery. She has organized a large number of exhibitions in France and overseas (Australia, Canada, Brazil, Norway, Italy, Germany) and collaborates regularly with the Centre Pompidou and French and international festivals. http://www.isabellearvers.com/
Featured image: Drone Shadows by James Bridle
I met the London-based artist, publisher and programmer James Bridle in Oslo back in May 2013, as part of the conference The Digital City. Bridle was in Oslo to speak about drones, algorithmic images, and urban software. His most recent art projects, Dronestagram and Drone Shadows, have caught a great deal of interest by the popular press, with recent features published in the Wall Street Journal, Dazed & Confused and Vanity Fair. Bridle is no stranger to getting the timing right. Addressing issues of drone surveillance and invisible technologies in ‘leaky’ Snowden times, or manage to get a bunch of academics, writers and critics, to talk about the birth of a new movement – based entirely on a Tumblr-blog he called the New Aesthetic – surely qualifies as good timing. In our conversation, Bridle, or the New Aesthetic’s commander-in-chief as Vanity Fair calls him, reveals that he never really meant to talk about aesthetics. It is not the printed pixels on a pillow, so often taken to be emblematic of the New Aesthetics by its critics, that is of interest to Bridle. Rather, Bridle wants to encourage a conversation about the kinds of images and sensibilities that emerge from algorithmic and machinic processes, and the embedded politics of systems that make certain images appear (and disappear).
Taina Bucher: Hi James, would you care to tell us a little bit about your background?
James Bridle: I studied computer science and artificial intelligence at UCL, University of London. By the time I finished, I hated computers so much that I went on to work in traditional book publishing.
It quite quickly became clear through working as an editor and publisher that publishing was heading for crisis, because it is an industry that is full of people who are afraid of technology. So I went on to specialize in e-publishing, looking at what happens to books as they become digital, which gradually grew into an examination of other cultural objects, and what happens to them as they get digital and the nature of technology itself.
T: Do you think that your background in computer science influences the ways in which you think about art and artistic practices?
J: I consider myself as having a background in both, and I actually think that having the literacy in both is incredibly valuable.
T: Interesting, what does this literacy in art mean to you?
J: Being able to speak the language of it and to be able to communicate it. Not just having an understanding of it, but also to be able to talk to people in publishing and the arts about the Internet without scaring them, and also to be able to talk to people in technology. They are still two separate cultures but it is possible to translate between them.
T: Do you consider software or code to be the material of your artistic practices?
J: Sometimes. I do think though that this should be the last concern. There are different ways of describing the world; materials are just a way of expressing it.
T: How then does software influence the kinds of expressions that you create?
J: Not only the material, but also the ideas coming from software are important here. There are plenty of ideas coming from technology that become really valuable as they are applied in the arts, for instance from the tradition of systemic analysis. You know, breaking things down to basic principles, algorithmic type steps, is a really valuable tool of analysis. It is also a dangerous one, as it can give you a systemic engineering view on problems.
T: You’ve said that you’ve been accused of romanticising the robot, or rather, that the New Aesthetic has been accused of this. What do you think the critics mean by that?
J: Well I do understand it in a way, because one way of talking about these things is really to anthropomorphize automated systems. When you do that, you bring a whole bunch of other questions into it, like whether these systems have a separate agency or not, whether they truly see and understand the world in ways that we do not entirely understand, or whether they are purely tools of human imagination. In order to understand these things, I think sometimes it is necessary to take a position, you know, talk about it as if it is true, and then you learn more by finding out where that description breaks down and where it doesn’t apply.
T: What is the New Aesthetic anyways? An aesthetic of the digital, or a digital aesthetic?
J: I never really meant to talk about aesthetics. The New Aesthetic is not about aesthetics. One of the earliest keys to it was looking at some of these images that result from systems, looking at things like computer vision and how the world is seen through machines, but really this is a shorthand of how the world is mediated through technologies in all kinds of ways, not just aesthetically. The aesthetic is a starting point where you can visually notice these things, but I am really interested in what it reveals about underlying things. I am not interested in notions of beauty or the aesthetics of it.
T: We could also understand aesthetics in terms of ways in which something is made to appear in certain ways. To talk about software aesthetics in these terms, would imply the view from technology, as opposed to the view on technology.
J: Not only the ways in which these technologies influence the ways we see things though, but the ways in which we think about them and understand them is important. By using some technology you’re bound by some of its biases and if you don’t understand what some of these biases are, then you’re slightly fooled by them. There is always an underlying politics to these things, and if you’re not aware of it, then you’re a victim of it.
T: Is it the artists’ job to reveal these biases in a certain sense?
J: Don’t know about job, but yes, that’s why I am doing it. The interesting thing to me is to explore deeper levels of these things. Getting a bit closer to the meaning and the underlying biases.
T: How do you work with, or get at the biases of technology?
J: By exploring and getting a technical understanding of it, but also by looking at how technologies actually operate in the world.
T: Do you think that a certain sense of code literacy is needed then?
J: I struggle a bit with that. I think that I do, the way that I work. Having a technical understanding of how things work is really, really important. But I am always struggling to figure out if it’s possible to do that without having the possibility to read the code. It is hard to study a foreign culture without knowing its language. Put differently, great artists mix their own paint. They have a fundamental understanding of the material. I think that if you’re making work with and about technology, and if you don’t understand how that technology works, you’re going to miss out on a huge chunk of what the technology is capable of doing. There is a lot of digital art that is very, very basic, because the people who are making it don’t actually understand how it works.
T: Could we see your work as a kind of software studies?
J: Yes, probably could see it like that. Some parts of software studies definitely informs my work, concepts like code/spaces. My practice is situated between art and technology and the stuff that always interests me, is when domains like software studies meets other domains, for instance where software studies meets architecture. I’m really interested in architecture because it is such a situated practice. It is not like art or high-flown critical theory, which is kind of above the world; it really has to be rooted in the world. The crossovers are what are interesting. People like Eyal Weizman or Keller Easterling, who talk about how architecture shapes not just the physical domain, but also the legal and political spaces.
T: One of your projects that I really like is “A ship adrift”. Besides being a bot, how can we understand this “ship”? How does it work and which data sources does it use?
J: It is part of a larger art project in London called “A room for London”, which was a one-room hotel built on top of another building on the south bank of London in the shape of a ship. It was both a one-room hotel that you could book and stay for the night, and it was used for art things, music projects and other events. I was asked to do something that connected it to the Internet, to some kind of an online component. I didn’t want to do something that was totally separate, but something that was rooted in this idea of the ship, and its actual location. One of the major things is that it is a ship that doesn’t go anywhere. It fails at the first condition of being a ship.
I put a weather station up on the building to monitored wind speed, direction, and a bunch of other stuff, and took all the data from that, to drive an imaginary ship. For example, starting in January, and from the physical location of the ship: If the wind blows 5 miles an hour, my imaginary ship would move five miles east or wherever the wind was blowing. So this thing was driving friction-free. As it’s going, it knows its own location and searching the Internet for stuff nearby. It is looking for information on the web that also has a geographical tag to it. Good sources for that are Wikipedia as there are lots of articles that have a physical location tied to it, so you can look those up and read those in. My favourite source was Grindr, a sex network for Gay men that was geo-tagged. Unfortunately they did upgrade the security there three months into my project, so I no longer had access to that data. I was also feeding it other texts as well. There was for instance a sub-thread running through the whole project around Joseph Conrad who I’m a huge fan of. So I gathered all these texts and running really, really basic language generation text programs on it, the same kinds of programs that generate spam emails. So it is not intelligent in any meaningful way. It is really about how we read broken texts. I just quite love that, because it is really part of the vernacular of the web. It’s what language sounds like when it is broken through machines. It is also quite empathetic, and it makes us examine our own feelings towards technology.
A Ship Adrift by James Bridle
T: Let me just quote you: “Forget controlling the machine; impersonate it. Fake it till you make it, like horse_ebooks, like A Ship Adrift” (Impersonating the Machine). How far would you take your own aphorism? Did your bot actually make it?
J: You can pick your criteria of success. My criterion of success is to produce an emotional response in me and in other people as well. And in this case, other people were really following along, particularly on Twitter. It had it’s own voice, although it was still generated by a semi-autonomous software system. It is not a bot really, it is not intelligent, it does not have agency, but it is generating a feeling about machines, which I think is important.
T: How did people respond to the ship?
J: Someone called it a ‘Robot Polari’. Polari is a European argot, which is almost gone now. Polari was a secret language that originated in circuses, travellers and theatre companies in the 19th century and became the secret language of gay men. It was a kind of coded language they used to communicate. Argots like that served multiple purposes. On the one hand concealing communication from the outside world that may be hostile to it, but also within the group, in terms of creating a bond between its members. So for me, the ship adrift felt kind of like an argot to the machines; machines kind of identifying themselves to each other, semi-protecting themselves.
T: There is a tendency to treat bots as ‘fakes’, as somehow inauthentic beings, which is really being framed as an increasing problem online. Why are we so obsessed with this notion of the inauthentic of that which is not entirely human?
J: That is a really good question. This problem of authenticity and technology extends much further. The whole New Aesthetic project springs in some extent from trying to understand what people consider being authentic digital experiences. I think we have this quite big problem, which is that we are so unsure with how technology operates that we have a deep distrust of it.
I think Instagram is a really good example of that. The entire mechanism of Instagram is predicated on applying the filters of analogue cameras to digital photographs, which for me is a process of authenticating. We are aware on some level that these photos are apparently less stable and less persistent than the photographs you keep in a shoebox, some server going down could delete them any moment. There is a precarity to them. We’re all the time trying to authenticate stuff, and all of this is tied to our fear and confusion around digital things.
T: It seems that questions of the invisible, or making what is seemingly kept from view visible, is a core element of your artistic practice. What is it about the invisibly visible and visibly invisible that intrigues you so much?
J: Take the drone programme. It is a political programme. It’s a natural extension of our international relations and we’ve developed a set of technologies to address these relations. The drone is perhaps the most emblematic and also a largely invisible one. It’s really been going on for the past decade, but it has only very recently become a very political issue. This is due to the fact that drones are largely physically invisible. They are secret technologies that no one ever really sees. In all kinds of ways: You don’t see them in newspapers, until very recently, and you don’t see them in movies. The invisibility is conferred by them being seen as technological objects. Because they are technologies, they are not criticized in a way that a policy, or a person, or human actions can be. Even though they are all about policies and human politics. Because humans in general, are not technologically literate, they just back off from that. For most people, it is just the way it is.
T: Would you say that it is the technology itself that is actually invisible, or the institutions and the kind of political work going on in the background of these drones?
J: Both of those things. This is where it gets interesting, because a lot of this technology materializes that political will. Stuff that would have been entirely secret previously, now exists as objects in the world. There is this incredible paradox, technologies both reify and materialize power and human desires, but are made invisible in a way that makes them beyond comprehension.
T: How have people reacted to your drone work?
J: Well, people have had discussions about drones they would not have had otherwise. But I hope that my work also raises questions about technology and the media on a deeper level, not just in terms of the drone programme.
T: Now that even our police forces are starting to talk about smart policing and using drones for surveillance purposes, what do you think would be an appropriate response?
J: I am not sure how the situation looks like in Norway. But London is the most heavily surveilled city on earth. Yet, we don’t talk about it much. For the most part everyone seems to be ok with that. It is a matter of technology, and thus easy for most people to ignore. If drones raise greater fears about surveillance, then maybe that will push back on all forms of surveillance. I’m not particularly more worried about drone surveillance than I am with cameras on a building. They are all functions of the same thing, but if it actually makes people think more about surveillance and control mechanisms then that is a fairly interesting way for it to go.
T: Maybe we’ll just end up in an overly visible state, where the amount of visibility goes counter to what it is supposed to do. If everyone is highly visible all the time, then the questions becomes one of analytics. How are we to make sense of this visibility?
J: The best I can hope for is a kind of democratization. We should all have access to them and be able to see through them as well.
T: What is up for you next?
J: I think I will have to take a lot of the momentum of this drones work and try and push it back up a layer to the political and legal space. I’ve never been interested in just the drones. I’ve always been interested in the wider implications of the technologies that they embody. So the drones are just the start, but there is a much larger conversation we should be having. So the question is how we can expand this conversation to those other areas and not just make it about weird sexy planes.
T: How does your work connect with social media? Do you use social media as a useful platform, or a point of critique itself? Does social media in any way change the possibilities of your artistic practice?
J: Yes, totally. I represent myself, and I have my own audience. It amplifies the things that I do, but I don’t theorize too much about it. That would be a whole rabbit hole to go down to. And I’m very well aware that I’m living inside, so it would be difficult to have such a critical eye on, because I’m so involved in it. I think that I will at some point though. One of the key tenets of my practice is not to perform manifestos, I don’t want to draw or come to any conclusions because I think we are at such an early stage with these social networks and social media, and the Internet in general that we don’t even have the critical frameworks to talk about it seriously, let alone come to any serious conclusions about it, yet.
“None but those who have experienced them can conceive of the enticements of science.” Mary Shelley, Frankenstein.
Rachel Falconer writes about the cyberfeminist art collective subRosa, a group using science, technology, and social activism to explore and critique the political traction of information and bio technologies on women’s bodies, lives and work.
Following a recent interview with the founding members of the collective, Hyla Willis and Faith Wilding, this article presents subRosa’s trans-disciplinary, performative practice and questions what it means to claim a feminist position in the mutating economies of biotechnology and techno-science.
The technological redesigning and reconfiguration of bodies and environments, enacted through the economies of the biotech industry, is an emerging feature of contemporary life. As these new ‘bits of life’ enter the biotech network, there is a slippage in our mental model of what constitutes the body, and more specifically, ‘life’ itself. As radically new biological entities are generated through the processes of molecular genetic engineering, stem cell cultivation, cloning, and transgenics, bio-artists and bio-hackers co-opt the laboratory as a site of critical cultural practice and knowledge exchange. Human embryos, trans-species and plants are constructed, commodified, and distributed across the biotech industry, forming the raw materials for bio-art, DIY biologists and open science culture.[1] These corporeal products and practices exist within new and alien categories, transgressing the physical and cognitive boundaries set by biopunk science fiction and edging towards the possibility of a destiny driven by genetics and life sciences. With the eternal rhetoric of a high-tech humanity, and the threat of Michel Foucault’s[2] biopolitics constantly on the horizon, today Harraway’s[3] myth of the cyborg exists in the form of corporeal commodities travelling through the global biotech industry. Scientific research centres stock, farm, and redistribute biological resources, (often harvested from the female scientists themselves). Cells, seeds, sperm, eggs, organs and tissues float on the biotech market like pork belly and gold. Seeds are patented, and other agro-industrial elements are remediated and distributed as bits of operational data across the biotech network. We/cyborgs[4], are manifested as a set of technologies and scientific protocols, and, as a result, the female body in particular, is reconfigured into a global mash-up of cultural, political and ethical codes.
The increasingly pragmatic realisation of the biotech revolution has provoked a ‘cultural turn’ in science and technology studies in general, and feminist science studies in particular. Carolyn Christov-Bakargiev’s dOCUMENTA (13) proposed an interdisciplinary approach to the role of science for ‘culture at large’. Certainly, by foregrounding the heavy hitters in the field such as Donna Haraway and Vandana Shiva, dOCUMENTA (13) laid claim to addressing the global conflicts of biotechnology. However, the feminist agenda was not specifically addressed, and the key issues of the impact of biotechnologies on feminist subjectivities were only paid minimal lip service. With the exception of Shiva[5], the tone of dOCUMENTA (13) hinted at a positivist, emancipatory take on biotechnology and technoscience without assuming a critical position. There was very little public debate or critical analysis engaging the philosophical, ethical, and political issues of feminism and female subjectivities within the realm of biotechnology.
Notably absent from last year’s dOCUMENTA (13), the activist feminist collective subRosa’s performative, interdisciplinary projects are channelled towards embodying feminist content, practices, and agency, and laying bare the impact of new technologies on women’s sexuality and subjectivities – with a particular emphasis on the conditions of production and reproduction. Through their research-led practice and pedagogical mission, the collective analyse the implications and conditions of the constantly surveyed female body, whilst mapping new possibilities for feminist praxis. subRosa interrogate the conditions of surveillance, private property rights, and other control mechanisms the female body is subjected to by ART(Assisted Reproductive Technologies). The collective’s hybrid, interdisciplinary practice navigates the multiple identities the female body has taken on through techno-scientific development, including: the distributed body, the socially networked body, the cyborg body, the medical body, the citizen body, the soldier body and the gestating body. In contrast to the overarching and pervasive illustration of the technoscientific cultural landscape painted by dOCUMENTA(13), the current members and founders of the collective, Hyla Willis and Faith Wilding, are very clear in their critical intent. The collective choreograph and place themselves within globalized bio-scenarios in order to question the potential for resistance and activism within these constructs.
subRosa’s overarching vision to create discursive frameworks where feminist interdisciplinary conversations and experiments can take place, is research-led and takes its cue from the canon of radical feminist art practices. Cell Track: Mapping the Appropriation of Life Materials has featured in a number of exhibitions, most recently in Soft Power. Art and Technologies in the Biopolitical Age, Vitoria-Gasteiz, Spain. This project consists of an installation and website examining the privatization and patenting of human, animal and plant genomes in the context of the history of eugenics. Cell Track highlights the disparity between the bodies that produce stem cells and the corporations that control the products generated from them. Bringing together scientists, cultural practitioners and wider publics in the construct of the gallery space, subRosa generate discourse around the patenting and licensing of DNA sequences, engineered genes, stem cell lines and transgenic organisms. The project’s participatory aim is to set up an activist, feminist embryonic stem cell research lab in order to produce non-patented stem cell lines for distribution to citizen scientists, artists and independent biotechnologists. This environment of shared knowledge production and speculative, alternative, research activity is at the heart of subRosa’s social practice.
Due to the pedagogical nature of subRosa’s activities, the collective’s critical stance towards IVF and ART has proven to be particularly provocative, and their scepticism towards the emancipatory language of ‘choice’ co-opted by ART, has been met with some resistance by other feminist practitioners. However, it is in this very agonism[6] that subRosa wish to become more visible, and they welcome criticism and debate in the public discursive spaces that they create. In a recent interview, Faith Wilding and Hyla Willis both expressed their desire to generate an expanded, and deeper discussion about the wider issues involved in ART in particular and biotechnology’s effect on female identity in general. subRosa’s potential to reach wider publics and audiences is partially determined by the socio-political context of the communities in which they operate. Perhaps in reaction to this, subRosa’s focus is now shifting towards embracing the aforementioned ‘cultural turn’ in science as they address the position of feminist scientists themselves.
The imperative to reclaim feminist discourses and narratives in science is of growing concern to subRosa, as they believe that feminist agency lies in the practice of science itself. By relocating lab-work from the dominant scientific institutions to the public environment of the gallery, subRosa provide the critical space in which new feminist scientific praxis can operate,[7] and new dialogues and discourses can be created. Their conviction that political and critical traction lies in practice as discourse, and the potential of face to face encounters, is demonstrated in their recent project for the Pittsburgh Bienal: Feminist Matter(s): Propositions and Undoings (2011). In this installation, SubRosa take Virginia Woolf’s[8] assertion that ‘tea-table thinking’ provides an effective antidote to the male-driven ‘war-mentality brewed in boardrooms and command centers’ as their main conceit. Redeploying Woolf’s idea toward the rethinking of the traditionally male-dominated discipline of science, Wilding and Willis’ installation brings traces of the science laboratory to the intimacy and hospitality of the kitchen table, and in turn, also situates what is normally a private, feminized space in a more public domain.
These tables stage a dialogue between one or two visitors in response to the presentation of female figures in science, both the popularly acknowledged and the underexposed. subRosa foreground women scientists past and present and reimagine an alternative, feminized history of science and technology. The installation explores feminism and participatory practices as modes of scientific research, with the aim of generating dialogue and discourse around the questioning of the dominant historical narrative of science. Specially tailored installations reside on each table, evoking lab work while celebrating the history of the women protagonists they play host to – from anarchist painter Remedios Varo to geneticist Barbara McClintock.
subRosa’s pedagogical imperative is at once inclusive and provocative, and their role as facilitators of a discursive space outside the traditional institutions and control structures of science, is where their radical aspirations lie. Pedagogical art practices often teeter on the brink of propaganda, and subRosa are quite comfortable with the propagandistic label. Considering the economic and cultural climate in the USA with regard to the politics of reproduction, their work has been particularly well received in the context of European cultural institutions, whereas in the USA there is greater interest for the work in academic institutional settings. Perhaps this could be symptomatic of the general privileging of discourses around intersex, transgender and queer subjectivities. The dominant bias of the gatekeepers of the artworld to showcase queer practices is evident in the promotion of artists such as Ryan Trecartin and Carlos Motta on the international circuit. Curators have tended to position artists addressing the gendered ‘Other’ within a contemporary queer framework, whilst keeping feminist art practices on the peripheries of 1960s/1970s retrospective nostalgia. This tendency presents a muddying of the waters for contemporary feminist art practices such as subRosa.
This may also be part of a more general tendency to demonize and move away from feminist identities and discourses in wider society. The academic shape shifting from ‘women’s studies’ to ‘gender studies’ to ‘queer studies’ has diminished the feminist conversation and, therefore, the impact and receivership of feminist art practices. This has rendered the popular conception of ‘Queer’ as acceptable and non-aggressive. Furthermore, the term ‘Queer’ and the subsequent morphing into the verb ‘queering’, has been co-opted by transdisciplinary academic discourse, and is now an expansive, all embracing cultural term – a phenomenon that has met with a certain amount of scepticism from the queer community.
This privileging of the expansive ‘othering’ of queer rhetoric has often resulted in feminism being rejected as a radical and out-dated political identity by art practitioners themselves. This ambivalent attitude is perhaps also indicative of the wider feminist debate, in which post-feminism has splintered into fragmented, diluted groups, each policing their own identity politics with little sense of a bigger struggle. However, the collaborative, interdisciplinary environments orchestrated by subRosa signal a return to the indisputably material actuality of the female body. Through their insistence on the possibilities of feminist bench-side practices, and the forensic unpicking of the power/control structures inherent in biotechnology, subRosa expands the feminist lexicon through the empirically re-appropriated organic materiality of the body.
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