Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
In the 1980s, Joi Ito traded in library tables at the University of Chicago for turntables at Chicago’s Smart Bar. But his attempt to evade academia wouldn’t stick.
The two-time college dropout became director of the MIT Media Lab in 2011, making the 50-year-old an academic administrator at one of the most renowned universities in the world. Before that, he was an entrepreneur who started a number of his own companies and invested in the likes of Flickr, Twitter and Kickstarter.
A proud supporter of “responsible disobedience” — the lab is awarding its first $250,000 Disobedience Award this July — Ito is in Chicago Wednesday as a Chicago Ideas speaker. He will appear with IDEO Chicago Executive Portfolio Director Neil Stevenson at an event to discuss Chicago’s role in “embracing culture, art and experimentation.”
Blue Sky talked to Ito — whose interdisciplinary media lab focuses on the creative use of digital technology, sciences, arts and design — about the disobedience mindset....
The Land Art Generator Initiative (LAGI) brings together artists, architects, scientists, landscape architects, engineers, and others in a first of its kind collaboration. The goal of the Land Art Generator Initiative is to see to the design and construction of public art installations that uniquely combine aesthetics with utility-scale clean energy generation. The works will serve to inspire and educate while they provide renewable power to thousands of homes around the world.
There is an art to every practice, activism included. It’s what distinguishes the innovative from the routine, the elegant from the mundane. One thing that can help the “art of activism” is applying an artistic aesthetic tactically, strategically, and organizationally. Throughout history, the most effective political actors have married the arts with campaigns for social change. While Martin Luther King Jr is now largely remembered for his example of moral courage, social movement historian Doug McAdam’s estimation of King’s “genius for strategic dramaturgy,” likely better explains the success of his campaigns. From Jesus’ parables to the Tea Party’s protests, working artfully makes activism effective. ...
A Cyberfeminist Manifesto for the 21st Century was a project in multiple media that gave vivid expression to the emerging political position of cyberfeminism, which saw new technology as an opportunity to disrupt society’s patriarchal norms, and to have fun doing it.
The manifesto was authored in a mode that spoke to the conditions of early network culture: collaborative, plagiaristic, possibly drug-fueled, and pornographic. The resulting text was distributed by fax, snail mail, paste-up poster, billboard, and online post, adopting the techniques of propaganda as an art practice. Through its circulation, it began to generate new versions, spinoffs, and critiques, giving rise to new worlds for artists and theorists to inhabit...
HyperNormalisation wades through the culmination of forces that have driven this culture into mass uncertainty, confusion, spectacle and simulation. Where events keep happening that seem crazy, inexplicable and out of control—from Donald Trump to Brexit, to the War in Syria, mass immigration, extreme disparity in wealth, and increasing bomb attacks in the West—this film shows a basis to not only why these chaotic events are happening, but also why we, as well as those in power, may not understand them. We have retreated into a simplified, and often completely fake version of the world. And because it is reflected all around us, ubiquitous, we accept it as normal. This epic narrative of how we got here spans over 40 years, with an extraordinary cast of characters—the Assad dynasty, Donald Trump, Henry Kissinger, Patti Smith, early performance artists in New York, President Putin, Japanese gangsters, suicide bombers, Colonel Gaddafi and the Internet. HyperNormalisation weaves these historical narratives back together to show how today's fake and hollow world was created and is sustained. This shows that a new kind of resistance must be imagined and actioned, as well as an unprecedented reawakening in a time where it matters like never before.
Manifestos for the Internet Age is a reader that collects manifestos of computer culture, starting with Ted Nelson (Computer Lib), through the GNU Manifesto and the Hacker Manifesto (1986), up to current influential positions such as The Cult of Done, the Cryptoparty Manifesto, the Critical Engineering Manifesto (Oliver, Savičić, Vasiliev), the 3D Additivist Manifesto (Morehshin Allahyari & Daniel Rourke), the Xenofeminist Manifesto (Laboria Cuboniks), and many other writings from both artists and activists.
This book is currently in beta status. Development is ongoing in the Git repository (participation is welcome). The book is generated using MarkDown, Pandoc and TeX.
The initial release was created over a week-end, during a Greyscale Press “BookLab” workshop held at the Fahrenheit39 Art Book Fair in Ravenna (read more about it here).
Poursuivons cette semaine sur l'action, avec aujourd'hui des activistes numériques. Quand le "hacking", cet art du piratage informatique, rejoint le laboratoire, ce lieu où s'expérimentent des nouvelles pratiques, cela donne des hackerspaces comme le /TMP/LAB (Choisy-le-Roi) ou le JACK (Montreuil).
BittterCoin is an old calculator machine hacked to be used as a miner validating the pending bitcoins transactions in the Blockchain (Online distributed data base). BitterCoin combines Internet of Things, media archaeology and economy. The operations are displayed on the calculator screen and printed afterwards.
The Bitcoin was originally conceived as an electronic decentralized system for capital transactions. Each node (user) has the same opportunities to get a reward when validating a transaction.
In the last years this system has triggered in a competitive struggle in which computing power is the most important variable for earning Bitcoins. This involves the use of large equipment, computers farms spending physical and environmental resources. A struggle that benefits only the owner of the most powerful and efficient technology. BitterCoin takes up this discourse in a rhetorical way, It works as the most basic computer, increasing the time needed to produce Bitcoins almost an eternity.
Spanish engineer Ramon Roca got tired of waiting for telecom companies to wire his town — so he did it himself.
You can see the snow-capped Pyrenees mountains from Gurb, about 75 kilometers north of Barcelona. It’s a quiet farming community of 2,500, and in most ways there’s nothing special to set it apart from many such towns across the Catalonia region of Spain.
So why do people like me eagerly journey to Gurb? Because it’s the birthplace of Guifi.net, one of the world’s most important experiments in télécommunications...
The aim of Hackistan (http://Hackistan.be) is to gather people who want to save the world, and let them collaborate efficiently towards emancipation around projects with societal and environmental impact.
In a trust-based framework, our goal is offer individuals and projects the best human, digital, financial and infrastructure existing resources - which are btw often underused-, within what we call a vertuous environment (mutualistic, redistributive).
This framework should allow these people and projects to connect more efficiently with resourceful partners (public/private actors, impact investors, Foundations, infrastructure managers).
Technically, we bootstrap this in Brussels by offering a working space, organizing open topic-wise events and private retreats for the collective members, as well as listening as much to the needs/obstacles/fears/ambitions from the people in the existing ecosystem. We aim at lifting up all fictive barriers (linguistic, disciplinary, scientific, industrial, individual) that brakes down the emergence pace of useful solutions.
Enspiral, Sensorica and many other initiatives are highly inspiring to us, we try to build something which relates directly to the specificities of the Belgian environment (a nd local opportunities aswell).
Ce sixième numéro de Vidéographies défriche le champ ultra-contemporain du champ Art(s) & Hacktivisme. Spécialiste du domaine, Jacques Urbanska nous guide à travers pas moins de 25 œuvres et performances mêlant arts, sciences et militantisme.
Par les détournements opérés par les hackers, des objets du quotidien au réseau informatique, le spectateur ou l'utilisateur est amené à repenser son rapport à la société d'aujourd'hui.
Currently the terms 'hacktivism', 'digital activism' and 'cyber activism' are frequently used by the various global media outlets, especially in connection with the social media-enabled protests taking place in the Middle East, Europe and elsewhere around the world. Understanding the nuances of these terms, their relationship to cyberconflict, and the difficulties for governments and the international community in responding to any type of cyberconflict incident are well worth exploring at this point in time.
Hacktivism is a term that combines the words hacker and activism. It refers to the art of manipulating code and using computers for political purposes. These include mobilizing supporters, creating software that helps bypass censorship or bridge digital inequality, and supporting specific campaigns, organizations, and protests around the world using electronic disobedience or social mobilization. Hacktivism in its purest form is an information-age ideology which, depending on the political spectrum, can support: peer production as an alternative mode to capitalism, copyleft or open source software, direct or participatory democracy, and transparent government...
Plenty of artists have explored the relationship between light and shadow to create indelible images and tell a story.
Eva and Franco Mattes — married Brooklyn artists and “hacktivists” — use those ideas metaphorically, peeling back the surface of what they call the “sanitized” internet to reveal its murkier side: the world of content monitoring and the elusive individuals who are tasked with tracking and removing offensive material online.
Their latest exhibition, “Abuse Standards Violations,” on view at London’s Carroll/Fletcher gallery until Aug. 27, is a journey into what Ben Vickers, a London curator at the Serpentine Galleries and fan of their work, called “the dark, morbid heart of the internet.”
Tehran Annual Digital Art Exhibition, TADAEX, was founded in 2011 with the aim of opening new horizons for Iran’s interdisciplinary and digital art. Its intention has been to create a serious and independent atmosphere for enthusiasts and researchers alike. The non-commercial nature of this art, in addition to the high cost of the equipment, have always made it difficult for the Iranian artists to participate and gain experience in the digital arena.
Thus, the potential for exhibiting and presenting artworks in this field could not be properly realized, and therefore, by presenting works by international artists and creating a platform for engaging with and exchanging of their knowledge, TADAEX has endeavored to pave the way for Iranian digital artists to develop and nurture their art.
A partir du printemps 2013, Edward Snowden, ex-analyste contractuel de la CIA et de la NSA, a commencé à révéler l’invraisemblable ampleur des programmes de surveillance de l'agence de renseignement américaine. Sous le nom le code « CITIZENFOUR », il contacte la documentariste américaine Laura Poitras, elle-même surveillée et bloquée à de nombreuses reprises dans les aéroports depuis son documentaire My Country, My Country sur l'occupation américaine de l'Irak.
Poitras part rejoindre Snowden à Hong Kong avec le journaliste du Guardian, Glenn Greenwald, et réalise en temps réel CITIZENFOUR, un document historique unique et un portrait intime d’Edward Snowden, retranché dans sa chambre d'hôtel, alors qu'il s’apprête à remettre les documents secrets et à sacrifier sa vie personnelle pour défendre ce qu’il considère comme le pilier central des démocraties : le droit à la vie privée des citoyens.
Passionnant documentaire à la limite du film d’espionnage et du thriller, CITIZENFOUR a reçu l'Oscar du meilleur film documentaire en 2015.
Visiter la chambre de Julian Assange, appeler des agents du renseignement, mais aussi danser toute la nuit au son de l'électro féminine des pays arabes : du 11 au 29 janvier, la Gaîté Lyrique donne la parole aux héros modernes que sont les Lanceurs d'alerte.
Valérie Cordy utilise la métaphore de l'astéroïde pour ses performances numériques qui explorent de nouvelles formes d’écriture et d’interprétation du monde à partir du flux de données dans lequel nous baignons.
L'astéroïde est un corps céleste qui évolue dans l’espace et se métamorphose en météorite lorsqu’il s’écrase sur la Terre. Il a donc un double statut qui génère des possibilités infinies sur scène, entre corps inoffensif voguant dans l'espace et risque constant, menace de catastrophes qu'il représente. Tout au long de sa trajectoire, au travers de l'éther, l'astéroïde capte le flux de l'information en fonction des contextes et des trajectoires spécifiques qu’il explore : catastrophe en Haïti, crise financière, « lois » du théâtre et du spectacle... L'astéroïde intègre ce flux pour le restituer sous la forme d’une performance au moment de l'impact, après que l'astéroïde s’est fait météorite.
Pour la Gaîté Lyrique, Valérie Cordy explore le thème des lanceurs d’alerte.
Dries Depoorter is a media artist and a freelance digital creative living in Belgium. He got a background in electronics and studied Media Arts in Ghent. Most of his work is about the internet, privacy, online identity and surveillance.
Prank your friends ... or a whole AppleStore Take control of Macs through cron jobs + remote app/website Source code : github.com/01010101/AppleCronPrank
Luther Blisset est une signature partagée par des centaines d’artistes et d’activistes à travers l’Europe et l’Amérique du Sud depuis l’été 1994. Pour des raisons qui restent inconnues, ce nom a été emprunté à un joueur de foot-ball d’origine afro-caribbéenne. Lequel a montré, avant et après quelques autres, que bien des footballeurs savent se servir de leur tête autrement qu’en l’enfonçant dans la poitrine de l’adversaire : lors d’une émission de la BBC, en 2004, il a manifesté son amusement pour cet usage de son nom, et brandi un exemplaire d’un livre de théorie critique signé Wu Ming. En Italie, entre 1994 et 1999, le « Luther Blisset Project », réseau organisé, devint un phénomène très populaire, réussissant à créer la légende d’un héros populaire. Un Robin des bois de l’information qui multiplia les canulars médiatiques durant cinq ans. On n’en citera que quelques-uns. En 1995, Harry Kipper, artiste conceptuel britannique disparaissait à la frontière italo-slovène lors d’un voyage à VTT mené dans l’intention de dessiner sur la carte de l’Europe le mort « ART ». Chi l’a visto ?, célèbre émission italienne (équivalente de « Perdu de vue »), tomba dans le panneau et se couvrit de ridicule. Harry Kipper n’avait jamais existé.
Le canular le plus complexe fut mis en œuvre dans le Latium, en 1997. Il dura un an. A grand renfort de fausses traces de rites, de communiqués jamais vérifiés par les rédactions, politiciens et journalistes de la presse écrite et télévisée furent poussés à développer les plus extravagantes théories sur la renaissance du satanisme. Le canular fut ensuite loué et analysé par des universitaires et des experts des médias, et devint un cas d’étude dans plusieurs textes scientifiques.
C’est ce que les activistes du Luther Blissett Project appelaient « la contre-information homéopathique » : en injectant une dose calculée de fausseté dans les média, ils visaient à montrer le manque de sérieux de beaucoup de créateurs d’opinion et le manque de fondement des climats de panique morale. Renversant la célèbre sentence de Debord (qu’ils n’apprécient guère), ils font en sorte que le « faux soit un moment du vrai ». Le canular final advint avec l’emprisonnement en Serbie du sculpteur et performeur serbe Darko Maver, tué ensuite par un bombardement de l’OTAN. Ses tableaux furent exposés à Rome et à Bologne et de prestigieux magazines artistiques publièrent un appel de solidarité. Certains critiques respectés prétendirent même connaître personnellement l’artiste. Il fallut attendre que Luther Blisset se fasse hara-kiri pour que la vérité soit révélée : Darko Maver n’avait jamais existé.
Au terme de ce plan quinquennal de dévoilement des mécanismes médiatiques, en 1999, le Luther Blisset Project se saborda, donnant naissance à des groupes divers. L’un d’eux fut 0100101110101101.org, groupe de média-artistes qui réussirent à convaincre la population de Vienne que Nike voulait racheter la Karlsplatz et la rebaptiser « Nikeplatz », ce qui entraîna les débats qu’on imagine en Autriche.
Un autre groupe fut constitué par quatre activistes bolognais qui, gardant le nom du footballeur, écrivirent Q. Publié en Italie en 1999, le livre a été édité ensuite en anglais (britannique et américain), espagnol, allemand, néerlandais, français, portugais (brésilien), danois, polonais et grec....
The installation uses nine different sound settings which makes for the first time global financial flows audible. From Monday to Friday is uses Live-Data, on the weekend it will use recorded stock market data from the day of the BREXIT- EU Referendum. The installation was invented and produced by the group "Catch a Falling Knife Collective“.
« Le changement, c’est maintenant » ; « Ensemble, tout devient possible » ; « Yes, we can » : ainsi va la politique. Les formules font mouche le temps d’une campagne électorale. Les discours emportent l’adhésion jusqu’au moment où il s’avère qu’ils sont restés lettre morte. Contre cette spirale de la désillusion, nous avons choisi de placer la troisième édition du Monde Festivalsous l’égide d’un verbe, un simple verbe, qui sonne comme une envie et un espoir : agir.
16, 17, 18 & 19 septembre 2016 - Débats, spectacles, rencontres et ateliers à l'Opéra Bastille (dont un sur la réalité virtuelle), Palais Garnier, Théâtre des Bouffes du Nord, Auditorium du Monde, Cinéma Gaumont Opéra et Théâtre de la Porte St-Martin.
Introduction To Biosurveillance, 18-19 August with Heather Dewey-Hagborg
Introduction To Software Defined Radio, 27-28 August with Julian Oliver And Bengt SjÖlen
Networkshop, 23-25 August with Julian Oliver And Danja Vasiliev
Offline Publishing, 02-04 Sept with Sarah Grant
Selfhosted, 07-09 September with Julian Oliver And Danja Vasiliev
The Critical Engineer considers Engineering to be the most transformative language of our time, shaping the way we move, communicate and think. It is the work of the Critical Engineer to study and exploit this language, exposing its influence.
The Critical Engineer considers any technology depended upon to be both a challenge and a threat. The greater the dependence on a technology the greater the need to study and expose its inner workings, regardless of ownership or legal provision.
The Critical Engineer raises awareness that with each technological advance our techno-political literacy is challenged. ...
When NSA whistleblower Edward Snowden leaked details of massive government surveillance programs in 2013, he ignited a raging debate over digital privacy and security. That debate came to a head this year, when Apple refused an FBI court order to access the iPhone of alleged San Bernardino Terrorist Syed Farook. Meanwhile, journalists and activists are under increasing attack from foreign agents. To find out the government's real capabilities, and whether any of us can truly protect our sensitive information, VICE founder Shane Smith heads to Moscow to meet the man who started the conversation, Edward Snowden.
This book introduces four waves of upsurge in digital activism and cyberconflict. The rise of digital activism started in 1994, was transformed by the events of 9/11, culminated in 2011 with the Arab Spring uprisings, and entered a transformative phase of control and mainstreaming since 2013 with the Snowden affair.
'The book presents a high quality and original contribution to the field. The main argument of the book is unique, and synthesizes literature across a number of disciplines innovatively. We have seen several studies or individual articles that examine instances, or shorter trajectories of digital activism. This volume is unique in that it provides a thorough historical overview of digital activism and connects this historical overview to theoretical terms, perspectives and development.' Zizi Papacharissi, University of Illinois at Chicago, USA
Our interests are diverse, and we do not agree on everything. Some of our research includes privacy, surveillance, code, art, social hacking, race, capitalism, anonymity, the infrastructures of the 21st century and useful skills in tangible situations.
Members of Deep Lab are engaged in ongoing critical assessments of contemporary digital culture, and work together to exploit the potential for creative inquiry lying dormant in the deep web. Our research is conducted independently as well as collaboratively. The process is manifested by our network and both seperate and shared knowledge/expertise between members. Some of our work is secret, anonymous and private. Other inquiries are public; released as lecture series, publications, contemporary art, public programming and/or performances...
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