technology

An Artist Stares Back at the Surveillance State

Screen Shot 2017-05-27 at 4.36.16 pm

Screen Shot 2017-05-27 at 4.36.16 pm

Here is a nice little interview with Trevor Paglen talking broadly about his work, new ways of seeing, image making and machine vision.

"Multimedia artist Trevor Paglen is mapping out the new landscape of digital communications and surveillance. In this wide-ranging interview the photographer, sculptor, geographer and writer talks about how he is learning to see the historical moment we live in. Video: Gabe Johnson; Photo: Trevor Paglen" [source]

http://www.wsj.com/video/an-artist-stares-back-at-the-surveillance-state/F7C6D25A-1009-48B7-8F73-CF9EFBB164F3.html

davos 2016: privacy and secrecy

Sorry for the delay on these post. Just cleaning out my drafts folder.

Commonality = priveldge information = value which we trade .

Sharing of nuggets of information . goverenments engage in surveillance and espionage

Should government be allowed to read someones emails?

NO (sort of) / Yes (with a caveat) / YES (sometime) / Yes (with a caveat) / NO

Best answer... YES (caveat)... if he/she (sic) can read the govenments emails.

livestream.com/accounts/1909571/events/4588218/videos/110036549/player?autoPlay=false&height=360&mute=false&width=640

screen-shot-2017-04-26-at-9-11-55-am.png
Screen Shot 2017-04-26 at 9.07.35 am
Screen Shot 2017-04-26 at 9.07.35 am

Spectacle, Speculation, Spam

a conversation between theory and practice (and lots more) by Alan Warburton:

"A presentation I made for the Edge of Frame Weekend seminar at The Whitechapel gallery in East London, December 2016. Artists, curators and academics were asked to explore where experimental animation practice sits in relation to independent animation, visual art, histories and institutions. Rather than presenting papers, we were challenged to cite up to three works that illustrated our case."

[vimeo 194963450 w=640 h=360] <p><a href="https://vimeo.com/194963450">Spectacle, Speculation, Spam</a> from <a href="https://vimeo.com/alanwarburton">Alan Warburton</a> on <a href="https://vimeo.com">Vimeo</a>.</p>

Invisible Images

(Your Pictures Are Looking at You)

http://thenewinquiry.com/essays/invisible-images-your-pictures-are-looking-at-you/

By TREVOR PAGLEN

We need to learn how to see a parallel universe composed of activations, keypoints, eigenfaces, feature transforms, classifiers, training sets, and the like. But it’s not just as simple as learning a different vocabulary. Formal concepts contain epistemological assumptions, which in turn have ethical consequences. The theoretical concepts we use to analyze visual culture are profoundly misleading when applied to the machinic landscape, producing distortions, vast blind spots, and wild misinterpretations.

We no longer look at images–images look at us. They no longer simply represent things, but actively intervene in everyday life. We must begin to understand these changes if we are to challenge the exceptional forms of power flowing through the invisible visual culture that we find ourselves enmeshed within.

 

(Research Image) “Disgust” Custom Hito Steyerl Emotion Training Set

Gestures of coincidence:

Some earlier experiements with facial detection results 1/2 : more happy than disgusted – from the corrupted self series according to microsoft.com/cognitive-services api

Hito Steyerl and me displaying outward emotional expressions of disgust 

My level of disgust seems to be far less than Hito's ability to display displeasure.

timeline of 2oth c. art and new media

[click on the image to expand]

http://www.ramakarl.com/website/

Rama Hoetzlein is an interactive media artist and computer scientist working in the areas of knowledge engineering and behavioral systems. I seek to develop the theoretical foundations of new media arts, and to explore the design, limitations, and capabilities of intelligent systems. My goal is to enable convergence between these dynamic digital systems and the processes of physical making, building and interaction. [source:http://www.ramakarl.com/website/contact/]

http://www.rchoetzlein.com/website/artmap/

art_theory_map1

Manual Override

By Evan Calder Williamsthenewinquiry.com

manual overide

The history of sabotage is the history of capitalism unmaking itself

And if linesmen make connections, can’t you make dis-connections? —Guy Bowman to telephone company workers, The Syndicalist, 1913

"In extending productivity measures to the person as a whole, whereby the self becomes a site of work not only for the labor of self-reproduction but also a project and product to be optimized, biometrically tuned, and circulated as image, the idea of sabotage receives its final twist: that of “self-sabotage,” a buzzword stalking the blasted earth of self-help rhetoric. As in, “3 Steps to Stop Sabotaging Yourself”: “Do you have a talent for self-sabotage? (Sure, you’re on a diet, but another doughnut won’t kill you, right?)” From the same article: “When your animal and computer selves are after the same goal, the two-beings-in-one arrangement works wonderfully. Say you’re a morning person and you work the morning shift. No problema! You know broccoli is good for you, and you love broccoli. Hooray! But when your computer self tries to force your animal self to do something it doesn’t inherently enjoy, you run into trouble. Self-sabotaging trouble, to be exact. In fact, self-sabotaging is almost always your animal self rebelling against not-so-much-fun conditions imposed by your computer self. The computer self builds a sort of cage of obligations and beliefs. Bad habits are your animal self’s attempt to ease its distress while living in that cage…” Or: “Why ‘self-sabotage could be ruining your career.” This belies more than the well-known shift of value production away from a clearly delineated working day. It also suggests that the slow dissemination of sabotage, as a concept, has itself tracked along shifts in the organization not only of capitalism itself but also of its self-narratives, roaming out from industrial waged work as central source of productivity to military contestations over access to territory and energy resource to corporate and office culture to the global subject of flexible accumulation."

Source: http://thenewinquiry.com/essays/manual-override/

HF | RG (Harun Farocki | Rodney Graham) / Jeu de Paume, Paris

Screen Shot 2015-06-14 at 2.41.51 pm http://youtu.be/IAwkneBcB04

information shadows - a brief digest

updated as of : 2015.06

2015_01_install_wall
2015_01_install_wall

where is the interface? why can't a wall be an interface? how about a space, a void? is that not an interface? things are unfinished. some patterns seem to be emerging. talk is not about the things, object/images or otherwise, that occupy the wall but more about the ideas which surround them. the embedded meaning or rather the residual value which they impart. their place in the context of greater meaning or whether they even have a place within the space they temporarily inhabit? how to transport a viewer elsewhere? i enjoy encountering a space and making decisions in the moment. how much content to include? where should they be positioned? what is their relation to each other? is there one? a minimalist aesthetic? can one object/image carry that much weight? ...

... i was told to wait ...

images below from 'global / local' summer seminar whitecliffe college of arts and design mfa mid-course submission : 2015.02.16-22 : install at Pearce Gallery and SGBR Studio, 130 Georges Bay road, parnell, auckland

Information shadows

Our thirst for knowledge and our appetite for understanding is what has propelled humanity forward. As we continue to broaden the knowledge based economies of our interconnected lives the data and information we manufacture acts as a conduit where the content we exchange contains a new form of labour. This ‘user activated labour’ results from a transaction where the value of exchange is not immediately one of economics but rather an exchange of information ripe for harvesting. Objects and resources are embedded with an information shadow and as we engage with our data driven society we extend the value of any given resource beyond its sole purpose as a commodity. The information presented here acts as a mediating point and seeks to explore the possibilities where concepts and ideas might exist beyond the boundaries of their function and intent. The accompanying QR codes link to a digital space where ideas exist in another dimension. These black and white cryptographs act as an interface between a physical world and the digital universe.

You will need to download a QR reader to your device to scan and follow the links.

blended-theory
blended-theory

update: 2015.06

This project began as the Data Syphons project.01 on blended-theory. It has since been absorbed into the transparency in exile: eighty-eight or there abouts project. They straddle the same subject matter and as these projects continue to be refined they will migrate into more specific lines of inquiry.

in search of data

tangimoana_panels For centuries humans have been collecting data. Ever since the first scientists, cartographers and philosophers began to question the boundaries of their existence and to explore the possibilities of the unknown, humans have been collecting, classifying and documenting their observations.

Today we continue to explore the possibilities of pushing our boundaries further outward where we extensively collect the bits and bytes of our interactions. In a series of online projects, blended-theory aims to open up a dialogue around the function of data in the contemporary; who is collecting it, what is it being used for and how might it shape us as we unknowingly participate in a world immersed in the shift to a digital existence.

dataSyphon_03

/ project . 01 encouraging a culture of : remix / sampling / sharing / zero copyright.

bitflips and battlefields

hito_battlefield [image] Hito Steyerl, Is a Museum a Battlefield? was shown at the Adam Art Gallery Wellington - 4th July to the 10 August. http://www.adamartgallery.org.nz

If you have never considered a museum as a battlefield, consider again. In Hito Steyerl's lecture/video installation/performance Is the Museum a Battlefield, she gives a convincing presentation that might make you consider otherwise. Her ‘work’ traces the debris from a battlefield in the mountainous areas south of the city of Van, Turkey where the Kurdistan PKK has been fighting for independence from Turkey. Some of the items collected includes the ‘invisible’ shell casings of a 20mm Gatling gun made by General Dynamics.

Steyerl goes on to retrace the origins of these shells back to their manufactures which implicates various corporate and industrial giants in a technological ‘bit-flip’ linking them to the biggest museums in the world through architecture, software, the 'gentrification of culture' and the corporatisation and sponsorship of art institutions by some of largest weapons manufactures in the world.

Steyerl’s uses the term ‘bit-flip’ to describe the dual use of technology, where it can be both culturally and scientifically important but at the same time can act as the collaborator to humankinds atrocities. This usage resonated with my views on the ‘new and disparate interactions’ which we are enacting through our mobile devices. Technically, ‘bit-flip’ is not a word but it suggests a manipulation of sorts where a 0 becomes a 1, an off an on and vice-versa. For me, it conjures up images of multiplicities where intent is polyvalent, where technologies ‘flip back’ on themselves, masking one of their binate ambitions.

The following video is an edited version.

[vimeo 76011774 w=700 h=393]

Documentation of Hito Steyerl's lecture "Is the Museum a Battlefield", first shown at 13th Istanbul Biennial. Steyerl’s new lecture, pro­duced for the 13th Istanbul Biennial, takes as its departure point her March 2013 talk ‘I Dreamed a Dream: Politics in the Age of Mass Art Production’ and focuses on the arms industry, a phenomenon constantly re-conceptualized by the media through the regular flow of images. It asks the question of how a museum and a battlefield could be related. The question emerges when Steyerl follows the trace of an empty bullet casing which she found in the area where the mass grave of Andrea Wolf and her friends were located in Van, Turkey.