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.
In this third article on Accelerationism, Jackson further investigates its philosophical roots and looks at skepticism, Enlightenment principles, and the freedom to Exit (inhuman acceleration) versus the freedom to find ones Voice (Ordinary appeal). He asks, whether it's time to reclaim the future with a return to Romantic philosophy in new ways?
In this second article on Accelerationism Jackson interrogates its philosophical roots and particularly its dealings with skepticism. Ordinaryism suggests that skepticism cannot be refuted nor endorsed, only inhabited as a salient vulnerable condition.
Bidhan Jacobs writes about the website I Love You (2004) by french artist Jacques Perconte, restored on November 1st 2015 for "(In)exactitude in Science" as part of The Wrong (Again) - New Digital Art Biennale.
Dave Young writes about the context of Localhost: RWX, a symposium and worksession at Edinburgh Sculpture Workshop from 29-31 October 2015. He explores how the filesystem mediates our everyday use of computer interfaces, shaping our interactions with our data and digital tools.
The Anarcho-Capitalist future utopia of post-Bitcoin Crypto 2.0 systems meet the historical organizational forms of Socialism. Rob Myers brings the trustless code of Decentralized Autonomous Organizations into contrast with the very human activity of Workers' Councils.
Even if digital art is still in its infancy, it flourishes while essentially remaining unevaluated and the public approaches it with a degree of curiosity. New art forms in the immaterial digital domain demand a general rethink in terms of their conservation, presentation and acquisition.
Erik Zepka considers the interface of science fiction ideas and experiential realism in contemporary internet cultural practice. As part of art production shifts towards online networks of makers. A consideration of that content could provide hints of what ideas have become politically relevant to the digital commons.
Patrick Lichty visits this year's Augmented World Expo to find out whether the increasingly immersive technologies of Augmented and Virtual Reality will give us superpowers or lock us in to the whims of our technological overlords.
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