Massive Media: A Geology of Media book review

J. R. Carpenter reviews A Geology of Media, the third, final part of the media ecology-trilogy. It started with Digital Contagions: A Media Archaeology of Computer Viruses (2007) and continued with Insect Media (2010). It focuses beyond machines and technologies onto the chemistry and geological materials of media, from metals to dust.

Humans are a doubly young species — we haven’t been around for long, and we don’t live for long either. We retain a fleeting, animal sense of time. We think in terms of generations – a few before us, a few after. Beyond that… we can postulate, we can speculate, we can carbon date, but our intellectual understanding of the great age of the earth remains at odds with our sensory perception of the passage of days, seasons, and lifetimes.

The phrase ‘deep time’ was popularised by the American author John McPhee in the early 1980s. McPhee posits that we as a species may not yet have had time to evolve a conception of the abyssal eons before us: “Primordial inhibition may stand in the way. On the geologic time scale, a human lifetime is reduced to a brevity that is too inhibiting to think about. The mind blocks the information”1. Enter the creationists and climate change deniers, stage right. On 28 May 2015 the Washington Post reported that a self-professed creationist from Calgary found a 60,000-million-year-old fossil, which did nothing to dissuade him of his religious beliefs: “There’s no dates stamped on these things,” he told the local paper.2

At the intersection between biology and geology – lichen on Devonian slate,
Old Mill Creek, Dartmouth, Devon, UK. Photo by J. R. Carpenter.

In the late 15th-century, Leonardo Da Vinci observed fossils of shells and bones of fish embedded high in the Alps and privately mused in his notebooks that the theologians may have got their maths wrong. The notion that the earth was not mere thousands but rather many millions of years old was first put forward publicly by the Scottish physician turned natural scientist James Hutton in Theory of the Earth, a presentation made to the Royal Society of Edinburgh in 1785 and published ten years later in two massive volumes3. It is critical to note that among Hutton’s closest confidants during the formulation of this work were Joseph Black, the chemist widely regarded as the discoverer of carbon dioxide, and the engineer James Watt, whose improvements to the steam engine hastened the Industrial Revolution in Great Britain. Geology emerged as a discipline on the eve of a period of such massive social, scientific, economic, political, and environmental change that it precipitated what many modern geologists, ecologists, and prominent media theorists are now categorising as a new geological epoch, the Anthropocene. As Nathan Jones recently wrote for Furtherfield: “The Anthropocene… refers to a catastrophic situation resulting from the actions of a patriarchal Western society, and the effects of masculine dominance and aggression on a global scale.”4

In his latest book, A Geology of Media (2015)5, Finnish media theorist Jussi Parikka turns to geology as a heuristic and highly interdisciplinary mode of thinking and doing through which to address the complex continuum between biology and technology presented by the Anthropocene. Or the Anthrobscene, as Parikka blithely quips. In putting forward geology as a methodology, a conceptual trajectory, a creative intervention, and an interrogation of the non-human, Parikka argues for a more literal understanding of ‘deep time’ in geological, mineralogical, chemical, and ecological terms. Whilst acknowledging the usefulness of the concepts of anarachaeology and varientology put forward by Siefried Zielinski in Deep Time of the Media (2008)6, Parikka calls for an even deeper time of the media — deeper in time and in deeper into the earth.

In Theory of the Earth, Hutton referred to the earth as a machine. He argued: “To acquire a general or comprehensive view of this mechanism of the globe… it is necessary to distinguish three different bodies which compose the whole. These are, a solid body of earth, an aqueous body of sea, and an elastic fluid of air.”13 Of the machine-focused German media theorists, Parikka demands – what is being left out? “What other modes of materiality deserve our attention?”7 Parikka proposes the term ‘medianatures’ — a variation on Donna Haraway’s ‘naturecultures’8 — as a term through which to address the entangled spheres and sets of practices which constitute both media and nature. Further, Parikka reintroduces aspects of Marxist materialism to Friedrich Kittler’s media materialist agenda, relentlessly re-framing the production, consumption, and disposal of hardware in environmental, political, and economic contexts, and raising critical social questions of energy consumption, labour exploitation, pollution, illness, and waste.

Drawing upon Deleuze and Guattari’s formulation of a ‘geology of morals’9, Parikka writes: “Media history conflates with earth history; the geological materials of metals and chemicals get deterritorialized from their strata and reterritorialized in machines that define our technical media culture”10. Within this geologically inflected materialism, a history of media is also a history of the social and environmental impact of the mining, selling, and consuming of coal, oil, copper, and aluminium. A history of media is also a history of research, design, fabrication, and the discovery of chemical processes and properties such as the use of gutta-percha latex for use the insulation of transatlantic submarine cables, and the extraction of silicon for use in semiconductor devices. A history of the telephone is entwined with that of the copper mine. How can we possibly think of the iPhone as more sophisticated than the land line when we that know that beneath its sleek surface – polished by aluminium dust – the iPhone runs on rare earth minerals extracted by human bodies labouring in deplorable conditions in open-pit mines?


image – Palaquium gutta, or gutta-percha – from Franz Eugen Köhler, Köhler’s
Medizinal-Pflanzen
, January 1, 1897 http://en.wikipedia.org/wiki/Gutta-percha

Jussi Parikka is a professor in technological culture and aesthetics and Winchester School of Art. Although his his definition of media remains rooted in the disciplinary discourses of media studies, media theory, media history, and media art, he advocates for and indeed actively engages in an interdisciplinary approach to media theory. He cites a number of excellent examples from contemporary media art, not as illustrations of his arguments but rather as guides to his thinking. He also draws upon a wide range of other references from visual art, science, literature, psychogeography, philosophy, and politics. This overtly interdisciplinary approach to media theory provides a number of intriguing openings for readers, scholars, and practitioners in adjacent fields to consider. For example, Parikka’s evocation of Robert Smithson’s formulation of ‘abstract geology’11 in relation to land art invites further explication of the connection between land art, sculpture, and the geology of sculptural media. For thousands of years sculptors have practised a geology of media, making and shaping clay, quarrying and carving stone, and smelting, melting, and casting metal. Further, Parikka’s discussion of the pictorial content of a number of paintings in the context of this book invites the consideration of the geology of paint as a medium, entwined with the elemental materiality of cadmium, titanium, cobalt, ochre, turpentine, graphite, and lead.

Media is a concept in crisis. As it travels across scientific, artistic, and humanistic disciplines it confuses and confounds boundaries between what media is and what media does in a wide range of contexts. This confusion signposts the need for new vocabularies. If geology has taught us anything, it’s that this too will take time. In endeavouring to explain how it happens that flames sometimes shoot out through the throat of Mount Etna, the Epicurian poet Lucretius (c. 100 – c. 55 BC) wrote: “You must remember that the universe is fathomless… If you look squarely at this fact and keep it clearly before your eyes, many things will cease to strike you as miraculous.”12 So too, Parikka prods us to think big, to get past our primordial inhibitions, to look beyond mass media consumerism to what I shall call a ‘massive media’ – a conception of media operating on a global and geological scale. A Geology of Media is a green book, overtly ecological. In his call for a further materialisation of media theory through a consideration of the media of earth, sea, and air Parikka has put forward an assemblage of material practices indispensable to any discussion of the mediatic relations of the Anthropocene.


NOTES

  1. John McPhee (1980) Basin and Range. NY: The Noonday Press, FSG. 128.
  2. Rachel Feltman (2015) “Whoops! A creationist museum supporter stumbled upon a major fossil find,” The Washington Post. (28 May 2015) http://www.washingtonpost.com/news/speaking-of-science/wp/2015/05/28/whoops-a-creationist-museum-supporter-stumbled-upon-a-major-fossil-find/
  3. James Hutton (1895) Theory of the Earth. London: Geological Society http://www.gutenberg.org/files/12861/12861-h/12861-h.htm
  4. Nathan Jones (2015) “It’s a Man’s Man’s Man’s World – Review: Sonic Acts day 1” Furtherfield. (7 March 2015) https://www.furtherfield.org/features/reviews/its-mans-mans-mans-world-review-sonic-acts-day-1
  5. Jussi Parikka (2015) A Geology of Media. Minneapolis & London: University of Minnesota Press 
  6. Siegfried Zielinski (2008) Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means. 1st MIT Press paperback edition.
  7. Parikka, 3.
  8. Donna Haraway (2003 The Companion Species Manifesto: Dogs People, and Significant Otherness. Chicago: Prickly Paradigm Press. 9.
  9. Gilles Deleuze & Félix Guattari (2007 [1987]) ‘10,000 B.C.: The Geology of Morals (Who Does the Earth Think It Is?),’ in A Thousand Plateaus: Capitalism and Schizophrenia. London & Minneapolis: University of Minnesota, 12th printing. 39-79. https://english.duke.edu/uploads/assets/DeleuzeGuattariGeologyofMoralsClean(1).pdf
  10. Parikka, 35.
  11. Robert Smithson (1979) “864 Institutions and Objections,” in The Writings of Robert Smithson, New York, pp. 82-91. https://www.msu.edu/course/ha/452/smithsonsediment.html
  12. Lucretius (1951) On the Nature of the Universe. R. E. Latham, trans. Penguin Classics. 237.
  13. Hutton, np.

Broken: Annette Barbier’s Casualties

“…the futility in this case is underscored by the silly project of bringing forth by mechanical means what nature in any case provides in abundance”1

Visitors to Annette Barbier’s Casualties at Chicago Artists Coalition are confronted by an abundance of dead birds—splayed photographs of birds that nature did not provide any instinct for dealing with gigantic, human-made structures of glass and concrete. Inside these structures are people who have no time to question whether they have any instinct for the same. Barbier’s installation is the intersection of these two sets of animals. Past the short foyer of dead birds, visitors are stopped by a large curtain of feathers without apparent opening. The curtain is lit from behind, flickering. It would be easy to stop here, assuming this giant barrier is the end of the exhibit. In order to progress into the installation, visitors must violate the haptic taboo of the gallery, split the curtain and move forward. Beyond the curtain, the small gallery space is spare. The focus of the installation is an arrangement of kinetic sculptures, sitting on a felt blanket on the ground. Each piece is a rotating wheel of bird feathers, held up by a piece of small gauge PVC pipe. Wires run down the pipe into a single control card. The materials are all apparent but the effect transforms them into  minimal bird analogs. With three people in the room, it is easy to see that the feathers rotate faster when approached. With a crowd in the space, the effect is more chaotic and it becomes impossible to discern any relationship between proximity and movement.

Interactivity inevitably removes focus from anything but the interaction, if it is noticed at all. We saw multiple people investigate the piece, focused only on the electronics, trying to figure out how to “make it go.” In Barbier’s use, this is perhaps an intentional distraction, underscoring the disturbing relationship between humans and undomesticated animals in urban environments. The bird analogs spin pointlessly, pathetically, in relation to our nearness and stand in place of a connection to the natural world. With little time for contemplation and a schedule full of assessment, budget cuts, reorganization and perpetual training, the students, staff and faculty of the University of Illinois (where the majority of Barbier’s photos were taken) only encounter birds as they rain down from their impact against the Brutalist architecture.

Twittering Machine

The “silly project” described in the Danto quote at the beginning of this review describes Paul Klee’s painting Twittering Machine. Mechanical birds perch above a void, feet wrapped permanently around the wire that controls them. They are joyful and terrifying, tongues of exclamation marks and sharp barbs. One wears a spring while another resembles a fly fishing lure. They are unstable, with questionable guy-wires holding them upright. Their perch is a wave on which they will bobble up and down, and perhaps fall, but only if the handle is turned. Barbier’s birds, like Klee’s machine, are a mere mechanical replacements for living beings, precariously perched and only moving within a severely confined environment.

“In my writing I got so interested in fakes that I finally came up with the concept of fake fakes. For example, in Disneyland there are fake birds worked by electric motors which emit caws and shrieks as you pass by them. Suppose some night all of us sneaked into the park with real birds and substituted them for the artificial ones. Imagine the horror the Disneyland officials would feel when they discovered the cruel hoax. Real birds!”2

Where Danto saw an abundance of nature, Philip K. Dick, quoted above, sees the replacement of wildlife with structured wildlife encounters. The artificial birds flutter and respond to our presence but only represent birds as humans imagine them. Barbier’s fake, electric pinwheel birds reduce the illusion to a mockery. The foyer of the installation shows the results of human architecture, inside we are confronted with the futility of seeking a technological solution.

Ecocide

“We are the first generations born into a new and unprecedented age — the age of ecocide. To name it thus is not to presume the outcome, but simply to describe a process which is underway. The ground, the sea, the air, the elemental backdrops to our existence — all these our economics has taken for granted, to be used as a bottomless tip, endlessly able to dilute and disperse the tailings of our extraction, production, consumption.”3

Casualties is not a call to action but a dirge, room silent but for the mechanical sound of small motors. Unfortunately, the human-centered reduction that Barbier’s sculptures outline, a false dichotomy in which we can only “save” or “destroy” nature, is undermined by an associated event. In a catalog insert, we are invited to a workshop on Preventing Bird Strikes. In this two hour workshop, we can learn to “create [our] own DIY devices to help birds avoid collisions with reflective glass surfaces.” The disjunction of human and natural is a much deeper issue and Barbier’s installation poetically makes visible a small intersection in civilization that is incredibly complex, and broken.

_

Cited:

  1. Danto, Arthur Coleman (1997). Encounters & Reflections: Art in the Historical Present. University of California Press. p 84
  2. Dick, Philip K.How to Build a Universe That Doesn’t Fall Apart Two Days Later, 1978. Retrieved from http://downlode.org/Etext/how_to_build.html
  3. The Dark Mountain Project, The Dark Mountain Manifesto. Retrieved from http://dark-mountain.net/about/manifesto/

Images and video courtesy of Annette Barbier


Furtherfield and Contemporary Art Culture – Where We Are Now

Introduction.

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 have collaborated with and supported a variety of talented people. Our artistic endeavors 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 the 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 ran 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 space we have recently opened (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 own motives and strategies and, 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 us, everyday people are only useful as material to be colonized. This makes us all indigenous peoples struggling under the might of the wealthy few. Hacking around and through this impasse is essential if we are to maintain a sense of human integrity and control over our own social contexts and ultimately to 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 daily 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 (in order to extract natural resources or to minimise disruption to our daily schedules of work and leisure) seems perfectly natural in spite of the catastrophic consequences for future life on earth (Bookchin 1991). Strategies for economic, technical and social innovation that fixate on establishing ever more efficient and productive systems of control and growth, deployed by fewer, more centralised agents have been shown conclusively to be both unjust and environmentally unsustainable (Jackson 2009). Humanity needs new strategies for social and material renewal and 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. If 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, we quite rightly should be considered as part of an irrelevant elite, and seen as saying nothing to most people. Thankfully, there are many artists and thinkers seriously taking 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 own relevance, and whether it is really contemporary anymore.

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 do not only need to thank the artists, critical thinkers, and hackers and independent groups like ours for making these cultural changes, although all have played a big role. It is also due an audience hungry for an art that reflects and incorporates their own 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. Make no mistake, 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 Knowledges’ 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.

Slide Presentation

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 myself and Heath Bunting (co-founder of irational.org) 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. It was street art that critiqued a presumed ownership of art culture by the dominating elites. The words “Most Art Says Nothing To Most People” has remained as an inner mantra in my mind ever since.

Furtherfield is inspired by ideas that reach for a grass roots form of enlightenment, and so 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 to get organized and build something of value 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, and challenge their own behaviours and seriously critique their own 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, 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, unambigious and comprehensive critique of mainstream art culture. I would like to consider examples that are closer to home blocking avenues of artistic and social emancipation 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 only 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 either shown in established institutions and conferences. They assume that because a particular art work or practice is accepted within the curatorial remits of a conference theme, that this means the art shown is representative of what is actually happening, thus more valid than other works and groups not included. This is a big mistake. It only serves to reinforce 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 of these supposedly insightful art historians and theorists advocate a decentralised, networked culture in their writings, or as a relational context. However, many of them are not actually either engaged in supporting or creating these 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.

Furtherfield and Hack Value.

“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. In fact, 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 as well as 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, in relation to 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 and physical environments as well as 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’s move to the heart of a North London park.

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.

Seeds Underground Party by Shu Lea Cheang. Aug – Oct 2013.

We are simultaneously connected to a network of international critical artists, technologists thinkers and activists through our online platforms and communities, as well as a wider networked art culture. We get all kinds of visitors from all backgrounds and this includes 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 the effort to examine deeper connections between people and the social themes effecting theirs and our lives. We don’t avoid big issues and controversies and are constantly engaged in a parallel dialogue between these online communities and those meeting us in the park.

We feature works that incorporate the contributions of local people and this brings them closer to the art and engagement of a social dialogue. For instance, London Wall, N4 by Thomson and Craighead, that 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 were able to gather many of the original authors in the gallery to see their words physically located among others made in the vicinity.

Above: London Wall, N4 by Thomson and Craighead, as part of Being Social, Feb – April 2012. Other artists included , Annie Abrahams, Karen Blissett, Ele Carpenter, Emilie Giles, moddr_ , Liz Sterry. See more info about the exhibitio Also to Flickr

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 own animal idioms, drawing directly onto the gallery walls, inspired by the ducks, crows, squirrels and dogs that inhabit the park.

We feature works that deal with the human and social effects of networked and pervasive technologies. 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 eirie effect. The intention is to reach people in a way that has people question their own relationship with those technologies. This does not mean promoting technology as a solution to art culture but exploiting it to connect with others and also critique technologies at the same time.

Below: Selection of images from original slide presentation – exhibitions & events.

 Crow_Sourcing by Andy Deck, WWW: World Wild Web Oct – Dec 2012.

Glitch Moment/ums Exhibition June – July 2013

Shu Lea Cheang & Mark Amerika. UKI – Viral Love by Shu Lea Cheang. Aug – Oct 2013.

The Furtherfield Commons.

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 sets out to explore ways to establish commons in the 21st Century. It draws upon influences from 1700s when everyday people in England such as Gerrard Winstanley and collaborators forged a movement known as the Diggers also known as the True Levellers, to reclaim and claim common land from the gentry for grass roots, 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.

“You have created a true Peer 2 Peer philosophy of art, with a great network and reach!” – Michel Bauwens, Founder of the P2P foundation

Notes:

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)

What Influences Furtherfield?

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, grass roots 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!

Extra Notes & References:

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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[1] Ruth Catlow. We Won’t Fly For Art Culture Magazine, special themed issue Paying Attention: Towards a Critique of the Attention Economy. Special Issue of CULTURE MACHINE VOL 13 2012 by Patrick Crogan and Samuel Kinsley.

[2] Marc Garrett. DIWO (Do-It-With-Others): Artistic co-creation as a decentralized method of Peer-2-peer empowerment in today’s multitude. From chapter – DIWO, Emancipation and Mainstream Culture. Page 2. (2013.) http://seadnetwork.wordpress.com/white-paper-abstracts/final-white-papers/diwo-do-it-with-others-artistic-co-creation-as-a-decentralized-method-of-peer-empowerment-in-todays-multitude-diwo-do-it-with-others-artistic-co-creation-as-a-decentralized-method-of-pe/

[3] Dan Hind. The Return of the Public: Democracy, Power, and the Case for Media Reform. Verso 2010. pp 155.

[4] Julian Stallabrass. Art Incorporated: The Story of Contemporary Art. OUP Oxford 2004.

[5] Gregory Sholette. Author of Dark Matter: Art and Politics in the Age of Enterprise Culture. Pluto press. (2011)

[6] About the Post-Media Lab By Post-Media Lab, 20 January 2012. Metamute.
http://www.metamute.org/editorial/lab/about-post-media-lab

[7] Hans-Christoph Steiner. Floss + Art. Compiled and Edited by Aymeric Mansoux and Marloes de Valk. GOTO10 in Association with OpenMute. 2008. P.151.

[8] Donna Haraway. Situated Knowledges: The science Question in Feminism and the Privilege of partial Perspective. Feminism and Science. Editors, Evelyn Fox Kellor and Helen E. Longino. Oxford University Press. 1996. P.259.

[9] DIWO: Do It With Others – No Ecology without Social Ecology. By Marc Garrett, Ruth Catlow. 2013. First published in Remediating the Social 2012. Editor: Simon Biggs University of Edinburgh. Pages 69-74. https://www.furtherfield.org/features/articles/diwo-do-it-others-%E2%80%93-no-ecology-without-social-ecology

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All exhibitions, events & projects at Furtherfield – https://www.furtherfield.org/programmes/exhibitions