Obscurity, the latest project of Paolo Cirio, targets american mugshot websites aiming to sabotage their functioning and expose their supposed ethics. Cirio cloned some of the most known mughshots, scrambled the data profiles of the people listed in them and obfuscated their identities. At the new cloned websites, users get to decide if profiles should be kept or removed. Cirio talks about the challenges and difficulties behind his artistic work.
Statistics, probabilities, correlations – more and more quantifying methods and tools are becoming the epistemological grounding of governance in the 21st century. The exhibition “Nervous systems” – on show until the 10th of May at the Haus der Kulturen der Welt in Berlin – presents artists, activists and philosophers exploring what it means living in a quantified word.
How do artists bridge the divides between disciplines to break new ground and meet the challenges of the future? What are the secrets to making collaboration work between different creative communities? We go looking for answers at Manchester’s FutureEverything, a future-focussed multimedia arts festival with exciting multidisciplinary collaboration at its heart.
The Neoliberal political economy has been particularly adept at transcribing our corporeality and its affects into mechanistic laws and procedures. It's so good, in fact--the story goes--that it's robbed us of the very thing it charges us for. How can we take back the things that are most intimately ours? Neoliberal Lulz offers a few ideas.
Despite its image of rapid technological change, progress under capitalism has stalled. Spinning ever faster is not the same as going somewhere. Contemporary Accelerationism wants to take off the brakes, and it is enlisting art's help to do so. Rob Myers attempts to speed up understanding of what Accelerationist art is and where it maybe heading.
Furtherfield recently received a hard copy of The Telekommunist Manifesto in the post, written by Dmytri Kleiner. After reading the Manifesto it was obvious that it was pushing the debate further regarding networked, commons-based and collaborative endevours. Marc Garrett interviews Dmytri about the Manifesto, its concepts and other projects created by the Telekommunist Collective.
Robert Jackson journeys into the realms of Accelerationism and Ordinaryism. Accelerationism has achieved potency by merging Enlightenment principles within the guise of complex systems and networked protocols. Ordinaryism proceeds in the same question in its own framework: the question of the everyday within automated systems. We might indeed change the world, but in most cases, it feels like the ordinary changes us.
Daniel Rourke visits the Photographers' Gallery in central London and reviews their latest exhibit One Terabyte of Kilobyte Age by artists Olia Lialina and Dragan Espenschied, on THE WALL. Over an eight week period (18 April - 17 June 2013) they feature a non-stop stream of video captures of what they term as the lost city and its archival ruins. A documentation of a past visual culture of the web and the creativity of its users with new pages changing every 5 minutes. The project provides a glimpse into web publishing when users were in charge of design and narration in contrast to the automated templates of Facebook, YouTube and Flickr.
As founder/director of the Media Archeology Lab in Colorado, Lori Emerson has (since 2009) been surrounding herself with "dead" media technologies in order to help make sense of (and critique) today's much-hyped alive ones. Montgomery Cantsin conducted this interview upon the release of Lori's new book, Reading Writing Interfaces.
Rob Myers takes us on a short historical journey of Glitch as an aesthetic signifier of technological presence that dates back at least to the 1980s. Referencing the Vaught-Kampf machine in Blade Runner (1982), the titular character in Max Headroom (1985). And how the use of Glitch as an artistic aesthetic in itself has accelerated with the democratization of new technologies.
Marc Garrett interviews John Jordan and Gavin Grindon about their collaborative publication, 'A Users Guide to (Demanding) the Impossible'. "This guide is not a road map or instruction manual. It’s a match struck in the dark, a homemade multi-tool to help you carve out your own path through the ruins of the present, warmed by the stories and strategies of those who took Bertolt Brecht’s words to heart: “Art is not a mirror held up to reality, but a hammer with which to shape it.”
Join us on August 4th between 6 and 6.45 for an exhibition tour by Gretta Louw at the Furtherfield Gallery. Then from 7 to 8, we will continue at Furtherfield Commons with a presentation by Louw, Your Emojis Are Not Innocent: Selfies and Alterity, in which she will present her upcoming collaboration with Warnayaka Art Centre to create a Warlpiri selfie and photo editing app, and a discussion about how selfies, social media, and alterity can be used for social good.
Networking the Unseen is the first exhibition of its kind to focus on the intersection of indigenous cultures and zeitgeist digital practices in art, bringing together concepts and experiences of remoteness and marginalised cultures, with art-making in contemporary society.
Featuring Gretta Louw, Lily Hibberd, Brook Andrew, Curtis Taylor, Jenny Fraser, Sharon Nampijinpa Anderson and the Warnayaka Art Centre.
Deep Water Web is a poetic essayistic meditation around phenomena straddling contemporary and historical geopolitical contexts of the UK and Australia; a continuous hyperlandscape, an environment composed from local manifestations of global ecologies, between points in the northern and southern hemispheres in the UK and Australia, online and in the physical space of Furtherfield Gallery.
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