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Background on CAE

Critical Art Ensemble has very publicly and legally performed scientific processes to demystify them and make them accessible to audiences. “Free Range Grains,” CAE’s latest project, includes a mobile DNA extraction laboratory for testing food products for the presence of genetically modified organisms. The biotech industry is a very little understood force transforming our lives with almost no public input. In the case of genetically modified agriculture, transgenic crops were approved by the F...

Real Rules of Innovation for the 21st Century (Part 4)

All I have to do now is the following. I can not quite put it into adequate terms and I therefore hesitate. I do check my lines regularly for lines that make no sense even in those regions where we need to make no sense for a while in the registers that do make sense so. It has to do with my ability to visualise a setting in which people resonate with media through simulating processes. Simulating processes that are actual processes, for in a digitised real, any process might become experiential...

Real Rules of Innovation for the 21st Century (Part 3)

There is a tendency to think that we are going forward, going towards situations yet to be formed and discovered. This is governed by a teleology that is at odds with the way we seem to immerse ourselves in digital connectivity. You’d think we respond intuitively to something lost in the first place; our being grounded while being mobile, our being at home in various places and locations, our sense of ubiquity, of the ubiquity of signs and modes of experience that seems ever more natural, more h...

Real Rules of Innovation for the 21st Century (Part 2)

We are witnessing our own irrelevance becoming more and more unquestionable, even to ourselves. We are moving into a world in which what surrounds us is behaving more and more like a director, less like the personage we’d prefer to have it act out. It is time to centre the process of becoming itself as the default position. Even though it is “generally assumed that huge floods play a disproportionate role in modifying river courses and eroding bedrock”, Hartshorn shows in a field study on the Li...

Real Rules of Innovation for the 21st Century (Part 1)

For how hard it is to write about a world becoming strange, or new, or spooky, after the dotcom crash, after the high hopes of increasing productivity through IT, of readers and writers becoming wreaders, of liberty finally around the corner: a product to be played out in all kinds of gender, racial and cultural roles, a process to drive decision-making transparency in both offline and online processes. Only to have woken up to the actual realization of a highly synergized performance of search ...

Organised Networks Institutionalise

This paper is interested in how networks using ICTs as their primary mode of organisation can be considered as new institutional forms. The paper suggests that organised networks are emergent socio-technical forms that arise from the limits of both tactical media and more traditional institutional structures and architectonic forms. Organised networks are peculiar for the ways in which they address problems situated within the media form itself. The organised network is thus one whose socio-tech...
Drove my Chevy to the levy but the levy was dry
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Drove my Chevy to the levy but the levy was dry

I don’t know how to say this really, as I never do, but I got this song in my head ‘Bye, bye, Miss American Pie, drove my Chevy to the levy but the levy was dry’ and it is a few days now, and tonight finally I figure out why. Let me tell you. [...] The public is insecure. We will restore faith in themselves by creating dignity poses: individual fake memories that will restore self confidence (the rescue of a child, standing up to an assailant on your younger brother…). The factuality of these po...

Posthumous society On the implications of a transition via transhuman – to posthuman society

I call to get involved in developing projects that aid intelligence in new, connective and interactive forms. I do not primarily call for the simulation of human intellect, however i do call for “critical coding”, for technological development that breaks with forerunning paradigms if necessary. My personal take is that a close look at phenomenology might help us in finding alternatives to brute-force attacks on intelligence (eg. neural networks). Thinking about new, flexible forms of representa...

Confessions of a whitneybiennial.com Curator

In reflecting upon whitneybiennial.com then, what are the questions did it ask, and continue to put to us? Does it posit a fundamental shift in the art world with radical implications for future exhibitions in light of online art? Does it herald the invalidation of the legitimacy of major shows like the Whitney Biennial through the capability to create media attention via tactical means? Does it suggest that with the advent of new media art, the space of representation for the work of art has no...

The Myth of Meritocracy in Fine Arts

In a field like fine arts whose primary concern is subjectivity, what does meritocracy mean? Merriam-Webster defines it, “a system in which the talented are chosen and moved ahead on the basis of their achievement.” That is, a meritocracy assumes that achievement and reward are two separate issues. In sports, science, and business, for instance, meritocracy is relatively easy to define: winning competitions, discoveries, inventions, profits, and so on. Meritocracy is a system of rewarding based ...

(I)Migrants, Hegemony, New Internationalism

Exhibitions that are prepared as project(s) realizing the new internationalisation of the Third and Second Worlds demonstrate an incredible viability. It seems that these exhibitions have found a way to involve the “world”, and at the same time (and this is very important) to prolong their proper life. The inclusion of the Third World is also in the balance, with the proliferation of cultural studies in the capitalist First World, as the Second World (former Eastern Europe) is still (!) on the w...

Due o tre cose che so di Eveline

Eveline è stata pensata per fare cinema e quindi se ne sta fuori dal Web. Eveline crede ancora che per condividere lo sguardo ci si debba incontrare, come si fa adesso quando si va a vedere un film. Una persona da sola seduta su una sedia scomoda davanti al monitor di un computer in attesa che compaia il francobollo animato è un’immagine patetica e straziante. Così come ci si sposta per andare al cinema, e sappiamo che questa pratica implica qualcosa di molto simile all’andare al tempio per riun...

The Quiet Revolution In Non-Profit Capacity Support

The economic downturn of the last three years once again served to highlight the tenuous institutional capacity most non-profits are forced to rely upon to survive in good times and bad. Many non-profits with exceptional programs had to consider closing because funding dried up and they had limited ability to support themselves. While the business environment is cyclical, capacity issues are a chronic problem for the lion’s share of non-profits globally. This will continue to be the case until t...

Electronic Cruelty

The definition of interactivity and spectacularity significantly changes with the hypothesis that interactive installation can take a ritual form. The root of the word spectacle is in latin spectaculum or spectare: to watch. It is related to the art of theatre that originated in and gradually replaced the ancient rituals in Western culture. It refers nowadays to the blend of mass-media and the entertainment industry, reflected in all segments of contemporary life to the extent that it has become...

Understanding the Medium of Video Game

Shown on giant screens, in vivid color, and with surround audio, movies are capable of impressive realism. Often they make viewers identify with their characters. Literature too can feel so real that one starts crying. Some of those feelings too are passive and active. The reason why we hardly hear anyone complain about the disconnect between what they see and what they feel in movies or novels, is because many of them engender active emotions in us. This is the difference between art and entert...

Notes on the cultural dimensions of software and art

When talking about software and art, we have to speak about aesthetics, that is engage the value systems that inform our experience of art, and our perceptions in general. References have been made to the traditions of Fluxus, Conceptual Art, or Net Art, each of which implies a set of assumptions about the ways in which to judge the artistic quality of artworks. Over the last 200 years, European culture has seen aesthetics of beauty, aesthetics of the sublime, aesthetics of ugliness, and aesthet...

Report – Creative Labour and the Role of Intellectual Property

This report is based on the survey I conducted for the fibrepower panel initiated by Kate Crawford and Esther Milne – ‘Intellectual Property-Intellectual Possibilities’ (Brisbane, July 2003). I wanted to explore in some empirical fashion the relationship between intellectual property and creative labour. Why? Largely because such a relationship is the basis for defining what is meant by creative industries, according to the seminal and much cited mapping document produced by Blair’s Creative Ind...

A brief overview of media art in Croatia (since 1960s)

Unlike other aspects of the arts, media art in Croatia has not yet received systematic treatment. The creation of this thematic slot (2002) is the first attempt to define the term media art in Croatia in its historic context, as well as to set up a relevant data base. Bearing this in mind, we are aware of possible shortcomings and have structured the document in a dynamic manner, thereby respecting the nature of media art itself as well as the need to fill in the gaps and double-check the inform...

Do Domain Names Matter?

Today, in 2003, this is what the future of the domain name looks like: For the major players, the system will remain more or less unchanged. There will always be a small cast of large organizations and companies who will have domain names with household recognition: ebay.com, fbi.gov, etc. But for the rest of us, we can increasingly rely on the fact that software is allowing users to build their own naming systems around their desktops, and then sharing and cross-pollinating those systems within...

My Email Is Longer Than Your Email: Gender in Online Communities

The internet is, at its heart, a network of information, designed to spawn communication and easy connections between sets of data. In this regard, it is a primarily feminine structure, despite the imposition of male hierarchical organization. While the network is out there, rhizomatic and widespread, the main interface - search engines - are a structure based on rankings and popularity. In other words, we navigate a feminine world by way of masculine strategies. We are, in a sense, organizing h...

Tecnologie del vivente (3)

Nuovi strumenti di conoscenza e di espressione emergono rapidamente e si affiancano a quelli tradizionali. Accanto alle culture del libro, nuovi media, come per esempio quelli ipertestuali e della realtà virtuale, creano ulteriori possibilità di conoscenza e di comunicazione. Questi strumenti, denominati genericamente “tecnologie cognitive”, chiamano in causa modalità cognitive legate a facoltà percettive e sensoriali trascurate eppure fondamentali. Attraverso i nuovi strumenti ritornano in gioc...

Gesamtkunstwerk

My argument is that the barrier that once stood between fine art conceptual thought and design conceptual thinking is being broken down as a result of globalisation. [...] I intend to study this by comparing the conceptual thoughts and theories of an internationally recognised fine art master (Joseph Beuys) with the work of a modern day multimedia designer, artist, hacker, performer and genius (Hans Bernhard). [...] Realistically designers are fundamentally different to artists in some ways, for...

Interview with Luis Miguel Girão

Interview with Roberta Buiani

Interview with Bill Seaman

Interview with Roger Malina

Interview with Pavel Smetana

Interview with Christa Sommerer

Interview with Annick Bureaud

Interview with Leonel Moura

Interview with Nina Czegledy

Interview with Alberto Abruzzese (Italiano)

Interview with Stelarc

Interview with Derrick de Kerckhove

Interview with Margarete Jahrmann

Interview with Jaromil

Interview with Laura Beloff

Interview with Alan Shapiro