Rob Myers brings together the history of conceptual art and the future of Bitcoin-style blockchain technology for what would have been a panel presentation at The White Building for V&A Digital Futures: Money No Object.
Marco examines the issues around Google breeding the next generation of digital artists, as shown in their recent venture with their infamous DevArt exhibition at the Barbican in London. There has been an intense debate in the past weeks on what this powerful curatorial and marketing move by Google actually means.
With sculptures that sell themselves on eBay and cryptocurrencies for owning GIF images, art is already in the era of smart contracts. It's time to use the same technology to solve the crisis of art cirticism. Are you ready for the Accelerationist future of critique on the blockchain?
Marc Garrett writes about Mary Shelley’s Frankenstein and looks at science and technological determinism, and humanity’s bond with digital media and social networks. It includes human-machine relations, cyborgs, theories in cyber-culture, classical and SF literature and contemporary art practices across the fields of media art, hacktivism, activism, feminism and cyberpunk.
First of 6 articles as part of the Piratbyrån and Friends exhibition at Furtherfield. Mariana Delgado Coordinator of El Proyecto Sonidero (Mexico), writes about the Polymarchs posters (1980-1990) by Jaime Ruelas. Translation by Tess Wheelwright.
Building on science fiction author Charles Stross's vision of a future of weaponized eBooks, Rob Myers considers how artists can use the strategies of malware to make art that really grabs the attention of the public and the market, and how much it will cost to make.
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.
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?
Marc Garrett reflects on Furtherfield’s role and direction as a rhizomatic arts collective. He argues that the mainstream art world is becoming less relevant in contemporary life. He presents a selection of artworks, projects and events shown in their public gallery in Finsbury Park over the past 2 years and discusses Furtherfield's new lab space, the Furtherfield Commons. This presentation was given at the ICA, London and to students at the Institute of Creative Technologies, De Montfort University, Leicester.
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.
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