In the posthuman opera "The End" Vocaloid Hatsune Miku is unreal and ageless but possibly not death-defying. What can a not-quite-Open-Source media phenomenon teach us about mortality and cultural alienation? And how much further can the figure of the virtual idol singer be taken in a world which increasingly resembles the cyberpunk dystopias that it originated in?
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.
McCain discusses how capitalism has become on the one hand all-encompassing and on the other utterly unreal. Arguing that we need to be prepared to think the impossible so that resistance is able to grow. It attempts to weave an account in which system failure is seen as a point of rupture, whether in legislation, bureaucracy or thought itself.
In the 5th and final part of his series on classic Videogames and their appropriation into contemporary art. Mathias Jansson guides us through the many works within the game art world that have been inspired by Super Mario. From Miltos Manetas to Cori Arcangel and Antoinette J. Citizen, this article unpacks the many ways in which this popular videogame character has influenced the work of various artists.
Pete Gomes reflects upon his experience at the four day event Signal : Noise, held at the new Showroom space in London (UK). An experimental cross-disciplinary research project exploring the influence of cybernetics and information theory on contemporary cultural life by testing out its central idiom, ‘feedback’, through debates, performances, and events with artists, theorists and historians.
The P2P foundation have recently been discussing alternative, cooperative models for food production and distribution and one of their contributors highlighted Kate Rich's Feral Trade project. Furtherfield hosted the first exhibition of Feral Trade as a working cafe, at HTTP Gallery in North London in 2009. (This page gives links to photos and a short video about the show. Watch out for the charismatic suppliers of locally made cake; )
Initially, I didn't even want to know about the climate summit in Copenhagen in December. I felt that it was inevitably going to be so hopeless and futile that I didn't even want to watch, and discussions weeks ahead of time on various mailing lists about the Danish police being given special powers only suggested that too many idealistic and caring people were likely to get hurt.
Trending Culture: You Can't Do it All
I was thinking about waves of expansion of creative discourse in parallel with the exponential increase of the production of information in media (Internet, etc). While I do not have quantitative data, my observations seem to sugggest we are undergoing another burst in the development of technological tools of production that challenges practitioners to keep up. Let me illustrate what I'm trying to get at through a historical observation.
This is a sort of non-essay, capturing of thoughts, I had one night, after having the question “What's your definition of art, though?” posed at me by Netwurker Mez, on Twitter. It was asked in response to my posting something about wanting to believe art mattered. I'm not sure if these notes get anywhere near that, but in writing them, I got nearer to remembering why art can be interesting, and worth sharing.
This exhibition brings together a group of four contemporary artists from Colombia these artworks take the viewers through an interpretation of the main themes that could define the current Colombian...
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