[NetBehaviour] Very excited to announce - State Machines: Reflections and Actions at the Edge of Digital Citizenship, Finance, and Art.

[marc.garrett via NetBehaviour]

Hi Netbehaviourists,

I'm very excited to announce - State Machines: Reflections and Actions at the 
Edge of Digital Citizenship, Finance, and Art.

Co-edited with Yiannis Colakides (@NeMeOrg), Marc Garrett (@furtherfield), and 
@InteGloerich (INC).

I co-edited the thing, and contributed three different texts for the book.

1 - Reclaiming the Corporate-Owned Self. Featuring work by Jennifer Lyn Morone. 
Marc Garrett (Pages 195-205)

2 - Art, Debt, Health, and Care. Marc Garret interviews Cassie Thornton (Pages 
223-234)

3 - Art, Experience and Becoming: Mutations, Agents and Avatars. Marc Garrett 
interviews Lynn Hershman Leeson (Pages 176-182)

Order a free hard copy or download the epub/pdf: http://bit.do/eMqCv

Of course, there are many other contributors such as: James Bridle, Max Dovey, 
Marc Garrett, Valeria Graziano, Max Haiven, Lynn Hershman Leeson, Francis 
Hunger, Helen Kaplinsky, Marcell Mars, Tomislav Medak, Rob Myers, Emily van der 
Nagel, Rachel O’Dwyer, Lídia Pereira, Rebecca L. Stein, Cassie Thornton, Paul 
Vanouse, Patricia de Vries, Krystian Woznicki.

This publication investigates the new relationships between states, citizens 
and the stateless made possible by emerging technologies. It is the result of a 
two-year EU-funded collaboration between Aksioma (SI), Drugo More (HR), 
Furtherfield (UK), Institute of Network Cultures (NL), NeMe (CY), and a diverse 
range of artists, curators, theorists and audiences. State Machines insists on 
the need for new forms of expression and new artistic practices to address the 
most urgent questions of our time, and seeks to educate and empower the digital 
subjects of today to become active, engaged, and effective digital citizens of 
tomorrow.

Wishing you all well.

marc___
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[NetBehaviour] State Machines: Reflections and Actions at the Edge of Digital Citizenship, Finance, and Art

[marc.garrett via NetBehaviour]

State Machines: Reflections and Actions at the Edge of Digital Citizenship, 
Finance, and Art
http://networkcultures.org/blog/publication/state-machines-reflections-and-actions-at-the-edge-of-digital-citizenship-finance-and-art/

About the book: Today, we live in a world where every time we turn on our 
smartphones, we are inextricably tied by data, laws and flowing bytes to 
different countries. A world in which personal expressions are framed and 
mediated by digital platforms, and where new kinds of currencies, financial 
exchange and even labor bypass corporations and governments. Simultaneously, 
the same technologies increase governmental powers of surveillance, allow 
corporations to extract ever more complex working arrangements and do little to 
slow the construction of actual walls along actual borders. On the one hand, 
the agency of individuals and groups is starting to approach that of nation 
states; on the other, our mobility and hard-won rights are under threat. What 
tools do we need to understand this world, and how can art assist in 
envisioning and enacting other possible futures?

This publication investigates the new relationships between states, citizens 
and the stateless made possible by emerging technologies. It is the result of a 
two-year EU-funded collaboration between Aksioma (SI), Drugo More (HR), 
Furtherfield (UK), Institute of Network Cultures (NL), NeMe (CY), and a diverse 
range of artists, curators, theorists and audiences. State Machines insists on 
the need for new forms of expression and new artistic practices to address the 
most urgent questions of our time, and seeks to educate and empower the digital 
subjects of today to become active, engaged, and effective digital citizens of 
tomorrow.

Contributors: James Bridle, Max Dovey, Marc Garrett, Valeria Graziano, Max 
Haiven, Lynn Hershman Leeson, Francis Hunger, Helen Kaplinsky, Marcell Mars, 
Tomislav Medak, Rob Myers, Emily van der Nagel, Rachel O’Dwyer, Lídia Pereira, 
Rebecca L. Stein, Cassie Thornton, Paul Vanouse, Patricia de Vries, Krystian 
Woznicki.

Colophon

Edited by Yiannis Colakides, Marc Garrett, Inte Gloerich
Copy editing: Rebecca Cachia
Cover design: Hanna Valle
Design: Inte Gloerich
EPUB development: Inte Gloerich
Printer: Drukkerij Tuijtel, Hardinxveld-Giessendam, The Netherlands
Publisher: Institute of Network Cultures, Amsterdam, 2019

This publication is supported by the Amsterdam University of Applied Sciences. 
This project has been funded with the support from the European Commission. 
This communication reflects the views only of the authors, and the Commission 
cannot be held responsible for any use which may be made of the information 
contained therein. This publication is realized in the framework of State 
Machines, a joint project by Aksioma (SI), Drugo more (HR), Furtherfield (UK), 
Institute of Network Cultures (NL) and NeMe (CY).

Institute of Network Cultures, Amsterdam 2019
ISBN 978-94-92302-33-5

This publication is licensed under Creative Commons Attribution NonCommercial 
ShareAlike 4.0 International (CC BY-NC-SA 4.0). To view a copy of this license, 
visit  http://creativecommons.org/licenses/by-nc-sa/4.0/.___
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[NetBehaviour] Algorithmic Hate: Brenton Tarrant and the Dark Social Web by Luke Munn

[marc.garrett via NetBehaviour]

Algorithmic Hate: Brenton Tarrant and the Dark Social Web by Luke Munn

By Geert Lovink, March 19, 2019.

“From where did you receive/research/develop your beliefs? The internet, of 
course.” -Brenton Tarrant

Both the dark web and social media, then, while containing important elements, 
seem inadequate on their own. These supposedly separate spheres appear to be 
merging, feeding off each other to form a cohesive online environment. I 
suggest, then, that Tarrant was encompassed by a seamless blend of recommended 
racist content and memetically racist humans—a dark social web.

http://networkcultures.org/blog/2019/03/19/luke-munn-algorithmic-hate-brenton-tarrant-and-the-dark-social-web/___
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[NetBehaviour] Call for applications: Open Space Curatorial Residency, Istanbul, 2019

[marc.garrett via NetBehaviour]

Open Space Curatorial Residency, 3 August – 30 September 2019
Application deadline: Thursday 2 May 2019, 23:59 BST

To apply, download the application form and guidelines here:
https://www.openspacecontemporary.com/projects/residency/

Open Space welcomes applications from curators for the first Open Space 
Curatorial Residency, a new, two-month curatorial residency taking place in 
Istanbul between August 3-September 30. This residency will give one emerging 
curator, with 1-3 years of professional experience, the unique opportunity to 
spend eight weeks in Istanbul, working with artists, curators and art 
organisations to develop a new project that will be presented in Istanbul and 
London in Autumn 2019.

Following their selection by an international jury, the curator will be hosted 
by the Huma Kabakci Collection and Open Space team members in Istanbul. They 
will gain special access to the Collection and its archives, and will 
participate in a dynamic weekly schedule that will include research, site and 
studio visits, presentations, and workshops, in collaboration with acclaimed 
Istanbul art institutions.

The resulting project, which can take the shape of an exhibition, publication 
or discursive event, will draw on the curator’s experience of the Huma Kabakci 
Collection and their exchanges with Istanbul-based artists, curators, 
researchers and institutions. Open Space will also encourage curators to 
consider Open Space’s 2019 programme theme “Space without spaces” which aims to 
address a number of pertinent contemporary issues ranging from global matters 
such as the hardening of borders in an uncertain political climate, when 
developing their proposal. The project will be presented in Istanbul in 
September 2019 and in London in November 2019. The residency includes travel, 
accommodation and living costs.

The international Jury for the 2019 Open Space Curatorial Residency is: Alessio 
Antoniolli (Director, Gasworks & Triangle Network), Julie Lomax (CEO, a-n 
Artist Information Company & Chair of The Showroom), Kathy Noble (Curator and 
Manager of Curatorial Affairs, Performa), Bige Örer (Director Istanbul 
Foundation for Arts and Culture (IKSV), Director, the 2019 Istanbul Biennial), 
Inês Geraldes Cardoso (Head of Programming and Production, Open Space) and Huma 
Kabakci (Founding Director, Open Space).

Initiated by Inês Geraldes Cardoso, Open Space Head of Programming & Production.

How to apply
Applicants can download guidelines and the application form from the Open Space 
website here. Completed applications and any queries should be emailed to Inês 
at: i...@openspacecontemporary.com with the subject line Open Space Curatorial 
Residency 2019. Application deadline is May 2, 2019, 11:59pm BST.

About Open Space
Open Space is a peripatetic arts organisation that supports emerging creative 
practices and promotes dialogue in the arts through an annual programme of 
projects in unexpected spaces. Since its inception Open Space has collaborated 
on various projects and organisations including Alt, Artkurio, Block Universe, 
IKSV, Open Dialogue Istanbul, The Art Department and SALT. Previously Open 
Space Contemporary, Open Space has re-launched in 2019 with its first annual 
programme and a new visual identity: openspacecontemporary.com.___
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[NetBehaviour] MediaArtsHistories and Futures :: International, low-residency, Master of Arts

[marc.garrett via NetBehaviour]

MediaArtsHistories and Futures International - low-residency – Master of Arts – 
Starts September 2019

Deepening praxis and critical comprehension of the digital
developments
in contemporary art

An interdisciplinary field at the intersection of art, science,
technology and the humanities, MediaArtHistories examines scientific
discovery and technological innovation emerging in art praxis, as well
as the genealogies of their historical development and context. At a
time when digital technologies are fundamentally revolutionizing the
very ways in which we communicate, interact, and perceive images, the
MediaArtHistories program trains students from diverse backgrounds to
critically analyze the plethora of visual media cultures of today.

CONTENT

Courses cover Media Art genres such as Net, Telematic and Genetic Art
as well as the most recent reflections on Nano, Bio and Transgenic
Art, Video Games, Computer Graphics and Animation, Virtual Reality,
Augmented Reality, and Intelligent Environments, Hacktivism and Tactical Media,
Performance, Glitch Art, Hybrid Art and Robotics. MediaArtHistories
offers a basis for understanding the evolutionary history of media,
from historic examples such as the Laterna Magica and Mechanical Automaton
of the 17th century, to computer art at the earliest stages of the
Internet in the mid-Twentieth Century and the algorithmic art of today. Special
attention is given to the challenges of documentation and preservation
of these born-digital, ephemeral and multifarious works. Explored in
depth are key methods and theory from Digital Humanities, Image Science,
Media Archaeology, Sound Studies, the Intellectual History of Science
& Technology, and Digital Gender Theory. Excursions, and on site faculty
seminars, introduce students to the main cultural heritage
institutions in the field, such as Ars Electronica and ZKM, archives such as the
Archive of Digital Art (ADA www.digitalartarchive.at), festivals such as
Transmediale, and the Media Art market.

The program is a two-year low-residency, either 90 or 120 ECTS Master
degree offered in English. In addition to individual study and project
work at your home location, students gather 2-3 times a year for
intenseseminar modules with internationally renowned media artists and
scholars. These enriching sessions take place at Danube University or
another European location relevant to the community of media art, such
as Linz, Austria as well as Karlsruhe and Berlin, Germany.

BRAIN TRUST
MediaArtHistories program faculty include: Irina ARISTARKHOVA, Andreas
BROECKMANN, Andres BURBANO, Sean CUBITT, Oliver GRAU, Monika
FLEISCHMANN, Francesca FRANCO, Darko FRITZ, Jens HAUSER, Kathy Rae
HUFFMAN, Erkki HUHTAMO, Ryszard KLUSZCZYNSKI, Andreas LANGE, Martina
LEEKER, Christopher LINDINGER, Wolf LIESER, Roger MALINA, Lev
MANOVICH,Nat MULLER, Gunalan NADARAJAN, Frieder NAKE, Jussi PARIKKA, Christiane
PAUL, Ana PERAICA, Margit ROSEN, Christopher SALTER, Paul SERMON,
Edward SHANKEN, Jeffrey SHAW, Christa SOMMERER, Morten SONDERGAARD,
UBERMORGEN, and others.

Since its beginnings in 2006, Danube University’s prestigious
MediaArtHistories MA has offered its students both a deeper critical
comprehension and a practical orientation regarding the most important
developments of this most contemporary art, by building on its faculty
network of renowned international theorists, artists, and curators.
These faculty come from across the globe to give seminars during the
modules held at Danube University, and from their home universities
maintain through online network and project collaboration
individualized instruction with students throughout the program.
www.mediacultures.net/mah

STUDY in EUROPE
The low-residency modularized teaching system allows working
professionals to maintain their usual employment, and gives students
entering directly after a Bachelor degree the opportunity to gain
valuable career experience while they study. Modules take place on the
main campus and at the Center for Image Science housed at the Göttweig
Abbey. The Danube University is located in the UNESCO World Cultural
Heritage “WACHAU” and offers a spectacular backdrop for learning
and living. The Department for Image Science holds important resources of the
field like the largest international Archive of Digital Art:
www.digitalartarchive.at and the MediaArtHistories Conference Archive
www.mediaarthistory.org/maharchive and integrates its cutting-edge
research projects into teaching.

STUDENTS
International students to our program have come from locations
including Austria, Australia, Brazil, Canada, China, Egypt, Germany,
Iceland, Japan, Jordan, Korea, Mexico, Russia, Spain, Ukraine, and
USA. Alumni of the program are employed not only as freelance curators,
creative designers or working artists, but also at renowned cultural
sector institutions like: Austrian National Library, Süddeutsche
Zeitung, Chicago Art Institute, Deutsche Kinemathek, ETH Zürich, Ars
Electronica, ITAU Cult

[NetBehaviour] i hate war but i hate our enemies even more

[marc.garrett via NetBehaviour]

i hate war but i hate our enemies even more

Now available for direct ordering and/or free download…

i hate war but i hate our enemies even more
Heath Schultz & Becky Nasadowski

Arranged from a partisan perspective in the era of the uprising, i hate
war, but i hate our enemies even more is an unconventional textual
object that uses détournement, collage, and experimental writing against
reactionary liberalism, capitalism, and white supremacy.

Critical theory, police propaganda, militant cinema, country songs,
activist histories, and white reactionary protests are used as raw
material to stage ideological juxtapositions. George Wallace speaks to
Stokely Carmichael in Watts. Radio Raheem hears conservative country
music through his boombox while telling the story of Love and Hate.
Darren Wilson supporters share the stage with Al Sharpton. Peter
Watkins’ Communards sing La Marseillaise and Bill Withers sings
Grandma’s Hands in the same set.

In these conjunctions, we find the reproduction of struggle and the
potential for short-circuiting the reproduction of white supremacy. This
book aims to enact a critical theory of the spectacle as it joins the
practical movement of negation within society.

Biography: Heath Schultz is a research-based artist and writer. His work
addresses questions of institutional critique, activism, contemporary
politics, and the political efficacy of art. He is an assistant
professor of art at the University of Tennessee at Chattanooga.

Becky Nasadowski is a designer and design educator at the University of
Tennessee at Chattanooga. Her research takes a critical,
multi-disciplinary approach to design, contextualizing the field within
discussions of race, gender, and class.

PDF available freely online: http://www.minorcompositions.info/?p=937

Ordering Information: Available direct from Minor Compositions now.

Official release to the book trade in September 2019.

64 pages
Trim: 5.5 x 8.5
UK: £13 /US: $17
ISBN 978-1-57027-360-5

Released by Minor Compositions, Colchester / Brooklyn / Port Watson
Minor Compositions is a series of interventions & provocations drawing
from autonomous politics, avant-garde aesthetics, and the revolutions of
everyday life.

Minor Compositions is an imprint of Autonomedia
www.minorcompositions.info | minorcompositi...@gmail.com___
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Re: [NetBehaviour] gender, feminisms, queer studies

[marc.garrett via NetBehaviour]

Hi Agee,

Brilliant!

Will explore immediately :-)

wishing you well.

marc

‐‐‐ Original Message ‐‐‐
On Monday, 18 March 2019 09:23, AGF poemproducer  wrote:

> hi all, in case it interests you, huge ebooks archive ;O
>
> gender, feminisms, queer studies
> https://drive.google.com/drive/folders/19pGxfy4vbRyUkdxb8DJnkkqEFwMepGun
>
> love
> agee
>
> sound & curation
>
> AGF: @poemproducer
> http://process.poemproducer.com/
>
> www.antyegreie.com
> www.poemproducer.com
> https://soundcloud.com/agf-antye-greie
> https://agf-poemproducer.bandcamp.com/
>
> DOCUMENTATION: #sonicwilderness #nusasonic
> "a line of women in the rice field,
> sonifying the mathematics of labour, rows, mud and space”
> nusasonic.poemproducer.com
>
> AGF & Various ::: DISSIDENTOVA
> http://dissidentova.poemproducer.com/
> https://agf-poemproducer.bandcamp.com/album/dissidentova
>
> #unlisteningwhitefeminism
> https://soundcloud.com/ctm-festival/unlisteningwhitefeminism
>
> ZANSUSPENSION w Afghan performance artist Kubra Khademi
> https://vimeo.com/channels/poemproducer/240798694
>
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour


___
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[NetBehaviour] 'Artistic Shadow Libraries' at Find the File Festival in Haus der Kulturen der Welt (HKW), Berlin

[marc.garrett via NetBehaviour]

Find the File, Festival, 21-24 March 2019
Berlin Haus der Kulturen der Welt

The research project Creating Commons (Felix Stalder, Cornelia Sollfrank, 
Shusha Niederberger), based at the Zurich University of the Arts is invited to 
present first results of its research as part of the festival Find the File. 
The festival is a discursive music festival that explores questions arout 
collecting and archiving music, in discussions, concerts and installations. It 
is about what new possibilities and challenges have arisen for archives with 
the digital, and how new forms of knowledge can develop through the collecting 
activities of 'amateurs'. Last but not least, questions of accessibility will 
also be addressed.

Creating Commons is involved with two contributions:

1) Artistic Shadow Libraries
Video installation, Creating Commons
For the entire duration of the festivals in the foyer of the HKW

The interview montages show artists who create web archives as aesthetic 
commons practices: the art wiki monoskop, the no budget avant-garde archive 
UbuWeb, the online libraries arg and memoryoftheworld.org, and 0xdb.org, a 
database of 15,000 films. Through technical infrastructures, communities and 
mutual negotiation of terms of use, these 'shadow libraries' provide access to 
cultural goods – autonomous, collaborative, free. In times of progressing 
enclosures, they thus make an undogmatic as well as precarious contribution to 
wide accessibility and collaborative production of cultural memory.

2) Enter and Revive: Conditions for Accessibility and Reuse, Diskussionsrunde
Sunday, 24 March 2019, 17:00
Guests: Diane Thram (musik anthropologist, Rhodes University), Marisella Ouma 
(Intellectual Property Consultant), Cornelia Sollfrank (artist and researcher), 
Gregory Markus (RE:VIVE, The Netherland Institute for Sound and Vision)
Moderation: Florian Sievers

Archives and collections are increasingly making an effort to not only document 
the past but also to make their stock of material available for people to 
revive and experience, for the purposes of artistic- and knowledge creation. 
However, granting access to archival material implicates many legally and 
historically sensitive issues: What sort of tasks, what responsibilities do 
archives as well as archive-remixers have regarding provenance research, 
participation and accessibility? What practical examples are there for how to 
release the tension between reactivation and original context, reuse and author 
rights? What role does the immaterial character of music and sound play here? 
In what way can archival work become a commons-building exercise?

LINKS:
Find the File Programm:
https://www.hkw.de/en/programm/projekte/2019/find_the_file/find_the_file_start.php

Installation Artistic Shadow Libraries:
https://www.hkw.de/en/programm/projekte/veranstaltung/p_149235.php

Diskussionsrunde zu Accessibility and Reuse mit Diane Thram, Marisella Ouma, 
Gregory Markus und Cornelia 
Sollfrankhttps://www.hkw.de/en/programm/projekte/veranstaltung/p_148796.php
Find the File is part of the project The New Alphabet:

[German[
Find the File, Festival, 21.-24.3.2019
Berlin Haus der Kulturen der Welt

Das Forschungsprojekt Creating Commons der Zürcher Hochschule der Künste (Felix 
Stalder, Cornelia Sollfrank, Shusha Niederberger) ist eingeladen, im Rahmen des 
Festivals Find the File am Haus der Kulturen der Welt in Berlin erste 
Ergebnisse ihrer Forschung zu präsentieren. Das Festival ist ein diskursives 
Musik-Festival, das in Diskussionen, Konzerten und Installationen Fragen nach 
dem Sammeln und Archivieren von Musik nachgeht. Es geht darum, welche neuen 
Möglichkeiten und Herausforderung für Archive mit dem Digitalen entstanden 
sind, und wie sich neue Formen von Wissen durch die Sammeltätigkeit von 
„Amateuren“ entwickeln können. Nicht zuletzt werden auch Fragen der 
Zugänglichkeit adressiert.

Creating Commons ist mit zwei Beiträgen beteiligt:

1) Artistic Shadow Libraries
Videoinstallation, Creating Commons
Während der gesamten Dauer der Festivals im Foyer des HKW

Die Interview-Montagen zeigen Künstler*innen, die Web-Archive als ästhetische 
Commons-Praxis schaffen: das Kunst-Wiki Monoskop, das no budget 
Avantgarde-Archiv UbuWeb, die Online-Bibliotheken Arg und 
memoryoftheworld.org und 0xdb.org, eine Datenbank mit 15.000 Filmen. Mittels 
technischer Infrastrukturen, Communities und gegenseitigem Aushandeln der 
Nutzungsbedingungen gewähren diese „Schatten-Bibliotheken“ Zugang zu 
kulturellen Gütern – autonom, kollaborativ, kostenlos. In Zeiten 
fortschreitender Einhegung leisten sie so einen ebenso undogmatischen wie 
prekären Beitrag für Zugang zu und gemeinschaftliches Herstellen von 
kulturellem Gedächtnis.

2) Enter and Revive: Conditions for Accessibility and Reuse, Diskussionsrunde
Sonntag, 24. März 2019, 17h
Gäste: Diane Thram (Musikethnologin, Rhodes University), Marisella Ouma 
(Beraterin für geistiges Eigentum), Cornelia Sollfrank (Künstleri

[NetBehaviour] New KG podcast episode with Ruth Catlow

[marc.garrett via NetBehaviour]

New KG podcast episode with Ruth Catlow [http://kunstgespraeche.com/ 
](https://t.co/tBekEal4xl) We talk about: 
[@furtherfield](https://twitter.com/furtherfield), Saatchi & Saatchi YBAs, 
[http://bak.spc.org ](https://t.co/D5lRnFHyfY), art/tech/politics, relational 
sculptor, recentralization, redecentralization, 
[#diwo](https://twitter.com/hashtag/diwo?src=hash), artistic genius, Nairy 
Baghramian...___
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[NetBehaviour] New Book | Art Criticism Online: A History by Charlotte Frost.

[marc.garrett via NetBehaviour]

New Book | Art Criticism Online: A History by Charlotte Frost.

The mainstream press often celebrates the ‘tweeting’, ‘facebooking’ and 
‘gramming’ of art commentary. Yet online forms of art criticism have a much 
longer and more varied history than we think. Far preceding the art discussions 
happening on the likes of Twitter and Facebook. Before art discussions took 
place on social media, there were networked art projects and art critical 
Bulletin Board Systems, email discussion lists and blogs. Art Criticism Online: 
A History provides the first in-depth history of art criticism following the 
Internet. The book considers the core stages of development and where critical 
practice is heading in the future.

Reviews

Charlotte Frost's Art Criticism Online provides a much needed account and 
indispensable survey of the ways in which Western art criticism has been 
profoundly affected and changed by the online environment. Building on the 
history of networked and participatory criticism predating the Internet, Frost 
traces three different phases of online art criticism unfolding in early 
discussion groups, on listservs, and within today's blogosphere and social 
media platforms. The book expertly captures nuanced transformations in art 
criticism's content, form and style, analyzing how approaches have shifted in 
response to the evolution of the art world terrain. Art Criticism Online 
successfully manages to provide readers with a map of the dynamic expressions 
of today's critical culture. --Christiane Paul, Adjunct Curator of Digital Art, 
Whitney Museum, Director/Chief Curator, Sheila C. Johnson Design Center, 
Parsons/The New School

https://www.gylphi.co.uk/books/ArtCriticism___
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[NetBehaviour] Futurescapes – Finsbury Park of the Future.

[marc.garrett via NetBehaviour]

Futurescapes – Finsbury Park of the Future.

Group of local residents imagine & create visions of Finsbury Park 150 years 
past & future at Furtherfield Commons. The story from the ground by Matt 
Watkins http://bit.do/eKpk7

Timed to coincide with the 150th anniversary of Finsbury Park, this workshop 
for local residents, aimed to tap into our experiences and imaginations to 
generate future visions of the park. The event was led by Dr Rachel Jacobs, who 
is a local with a special affection for the park, and she started by sharing 
it’s stories and describing some of the features that are no longer in 
existence including a bandstand and the many trees that have been removed over 
the years.

Marc Garrett___
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Re: [NetBehaviour] CyPosium website back online

[marc.garrett via NetBehaviour]

Thanks Helen,

Good to know. A very important archive.

Also glad it's up, because I wrote about The CyPosium in my PhD ;-)

Wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Marc Garrett – Unlocking Proprietorial Systems for Artistic Practice.
Posted in Journal Issues, Research Values. VOLUME 7, ISSUE 1, 2018
http://www.aprja.net/unlocking-proprietorial-systems-for-artistic-practice/

Furtherfield Editorial – Border Disruptions: Playbour & Transnationalisms.
https://www.furtherfield.org/editorial-border-disruptions-playbour-transnationalisms/

Sent with [ProtonMail](https://protonmail.com) Secure Email.

‐‐‐ Original Message ‐‐‐
On Wednesday, 6 March 2019 09:01, Helen Varley Jamieson 
 wrote:

> hi folks,
>
> some of you may remember that back in 2012 we held The CyPosium - a one day 
> (12 hours) online symposium on cyberformance. it was a great event with a lot 
> of participants & generated a lot of really useful material about the 
> development of cyberformance and live online performance in general. this was 
> all documented on the website and in a book.
>
> recently the website went offline for a while due to the end of a free 
> hosting arrangement, but i'm happy to announce that it's now all back online 
> at https://www.cyposium.net/, where you can find:
>
> - screen recordings & chat logs of 10 presentations from artists & 
> researchers (including many netbehaviourists)
> - screen recordings & chat logs of 3 discussions
> - links to additional material provided by the presenters
> - link to CyPosium - The Book, in several formats - free to read online or 
> download as a pdf, & available to buy as a hardcopy.
>
> the site is a valuable resource of information for artists & anyone 
> researching the field, as it documents work from the 90s and earlier that 
> isn't widely known about.
>
> enjoy!
>
> h : )
>
> --
>
> helen varley jamieson
>
> he...@creative-catalyst.com
> http://www.creative-catalyst.com
> http://www.upstage.org.nz___
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[NetBehaviour] Review of Cornelia Sollfrank's “À la recherche de l’information perdue” ICA London, 2017

[marc.garrett via NetBehaviour]

Review of Cornelia Sollfrank's performance “À la recherche de l’information 
perdue” at the ‘Post-Cyber Feminist International’ event at the ICA London, 
2017.
By Athina Karatzogianni

https://www.furtherfield.org/leaking-information-leaking-genetic-information-trust-transparency-and-rape/

“À la recherche de l’information perdue” was a performance that Cornelia 
Sollfrank contributed to the ‘Post-Cyber Feminist International’ event at the 
Institute of Contemporary Arts in London.1 The event in November 2017 marked 
the twentieth anniversary of the First Cyberfeminist International (documenta 
X, Kassel, Germany, 1997) organized by the Old Boys Network, paying homage to 
its productive format and legacy."

"In her own words, Sollfrank set out to offer an “one-hour lecture performance 
that makes a (techno-)feminist comment on the entanglements of gender, 
technology and information politics,” with the rationale that “with the 
technological landscape vastly changed since the first Cyberfeminist 
International, we are living in a time well beyond the imagined future of the 
early cyberfeminists. Expanding upon this particular genealogy, this convening 
purposefully constellates thinkers to consider a new vision for 
“post-cyberfeminism” that is substantive and developed, without being 
exclusionary of contestation.”

Marc Garrett
Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

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[NetBehaviour] Grants for Media Art 2019 | Application deadline: 6th of February 2019

[marc.garrett via NetBehaviour]

Grants for Media Art 2019 of the Foundation of Lower Saxony at the 
Edith-Russ-Haus for Media Art

Application deadline: 6th of February 2019

The Edith-Russ-Haus for Media Art will award three Grants for Media Art of the 
Foundation of Lower Saxony (€10,000 each).

The Foundation of Lower Saxony grant at the Edith-Russ-Haus for Media Art 
supports a wide spectrum of media art, from video art and net-based projects to 
audio works and audio-visual installations.
Each of the three grants will be awarded for the production of a new project in 
the area of media art.

An international jury will convene to select the recipients of the grants.

Applicants must register for a user account on this website and submit via 
online application by 6 February, 2019, 00:00 (CET). Applications submitted 
after this date cannot be taken into consideration.

The grant is valid for a duration of six months (July–December 2019). It cannot 
be prolonged and residency is compulsory; grant recipients can expect to stay 
in Oldenburg at least one month.

- The project or artistic work should be completed within the six-month 
duration of the grant. However, an extension up until April 2020 can be 
negotiated.

- Only artists may submit an application; insitutions are ineligble.

- Only one application per person per year is permitted.

- Both individual artists and artist groups can apply; however, the grant 
amount is the same for groups as for individuals. For artist groups, the 
applicant whose name is provided as a contact will be considered responsible 
for the project.

- If desired, grant recipients can apply to stay in a furnished guest apartment.

- Grant recipients are expected to be involved in the activities of the 
Edith-Russ-Haus, including, for example, running workshops and giving 
presentations and artist talks. The dates of such activities will be arranged 
in consultation with the Edith-Russ-Haus.

- Beyond the grant amount of €10,000 and the possibility of using one of the 
guest apartments at the Edith-Russ-Haus, no further costs will be covered 
during the residency (such as technical means, production means, travel 
expenses, and living expenses incurred during the grant period).

- A jury consisting of international experts will select the recipients of the 
grants

- Only applications submitted through the online application system will be 
taken into consideration. Applications sent via post or email, as well as any 
extra materials received by post or email, will be disregarded and disposed of.

- The application may be submitted in either English or German. For German 
applications, please additionally include an English translation of the summary 
of the application, as the jury will consist of international participants.

- The grant recipients agree to allow the organizers to use images of their 
artworks for publication, archiving, website, and communication and marketing 
purposes without payment, as long as this use is directly related to the grant 
program.

- An application is considered accepted when the applicant receives 
confirmation via email. If the application does not adhere to the prescribed 
requirements, the applicant will not receive an email confirmation.

- The Edith-Russ-Haus and the jury have the unilateral right to exclude 
applications that do not conform to the above-listed requirements.

The Edith-Russ-Haus will handle all submitted information with great care. The 
information and documentation you submit will be used only for the purposes of 
processing your application. Applicants agree to be contacted by the 
Edith-Russ-Haus via the email address provided in their application. The jury’s 
decision will be announced online following the selection process. This is 
expected to take place at the end of May 2019 at latest. Awardees will be 
notified via both email and post to the addresses provided in their 
application. No notifications will be sent to applicants who have not been 
selected. We ask applicants to refrain from any inquiries concerning the 
completeness of applications or updates on the evaluation process after the 
deadline. Unfortunately we do not have the capacitiy to answer these questions.

Information on filling out your application:

Online application (registration and application: see the submenus in the 
left-hand navigation bar of the page 
https://www.edith-russ-haus.de/en/grants/grants/current.html ).The description 
of your project should include the following information (please designate your 
PDF file according to the following example: NAME_ TITLE-OF-PROJECT):

- Comprehensive description of the project (depending on the project including 
e.g. installation plan, storyboard, navigation plan, etc.)

- Technical means and materials

- Work and production schedule

- Financing plan (solid financing: own share, third-party funds, if necessary; 
planned but not yet solid financing: own share, third-party funds, if 
necessary). If the project shou

[NetBehaviour] *NEW 2018 CALL FOR BOOK PROPOSAL SUBMISSIONS: CRITICAL DIGITAL AND SOCIAL MEDIA STUDIES

[marc.garrett via NetBehaviour]

**NEW 2018 CALL FOR BOOK PROPOSAL SUBMISSIONS: CRITICAL DIGITAL AND SOCIAL 
MEDIA STUDIES**

Critical Digital and Social Media Studies is an established book series edited 
by Professor Christian Fuchs on behalf of the Westminster Institute for 
Advanced Studies and published by the University of Westminster Press (UWP). We 
invite submissions of book proposals that fall into the scope of the series.

**Submission Deadline: Monday 12 February 2017 23:00 BST**

by e-mail to Andrew Lockett (University of Westminster Press Manager) at 
A.Lockett {AT} westminster.ac.uk

For fullest series details and proposal guidelines see 
https://uwestminsterpress.blog/2018/01/08/call-for-book-proposal-submissions-2018-critical-digital-and-social-media-studies-series/

Books already published in the Series:
https://www.uwestminsterpress.co.uk/site/books/series/critical-digital-and-social-media-studies/

University of Westminster Press Publishing Portfolio:
https://s3-eu-west-1.amazonaws.com/ubiquity-partner-network/uwp/UWP_Catalogue.pdf

CALL DETAILS

After the publication of five titles in the series we invite submission of book 
proposals (adhering to the guidelines set out below) as one document with one 
full chapter for books in the range of 35,000-80,000 words. The books in the 
series are published online in an open access format available online without 
payment using a Creative Commons licence (CC-BY-NC-ND) and simultaneously as 
affordable paperbacks. We are able to publish a number of books in the call 
without any book processing charges thanks to generous support by the 
University of Westminster that covers these fees. Potential authors are welcome 
to contact the series editor outside of the initial time frame of this call for 
book proposals but should note that priority for funding support for suitable 
projects will be given to those proposals meeting the deadline. There is a 
preference for the submission of proposals for books whose writing can be 
finished and that can be submitted to UWP within the next 6-15 months. In the 
event of a surplus of strong proposals preference will be given to 
single-authored book proposals over edited volumes.

We welcome submissions of a book outline proposal with (exactly one) sample 
chapter submitted as one single Word or PDF document. We can only accept 
suggestions for books written in English.

TOPICS

Example topics that the book series is interested in include: the political 
economy of digital and social media; digital and informational capitalism; 
digital labour; ideology critique in the age of social media; new developments 
of critical theory in the age of digital and social media; critical studies of 
advertising and consumer culture online; critical social media research 
methods; critical digital and social media ethics; working class struggles in 
the age of social media; the relationship of class, gender and race in the 
context of digital and social media; the critical analysis of the implications 
of big data, cloud computing, digital positivism, the Internet of things, 
predictive online analytics, the sharing economy, location- based data and 
mobile media, etc.; the role of classical critical theories for studying 
digital and social media; alternative social media and Internet platforms; the 
public sphere in the age of digital media; the critical study of the Internet 
economy; critical perspectives on digital democracy; critical case studies of 
online prosumption; public service digital and social media; commons-based 
digital and social media; subjectivity, consciousness, affects, worldviews and 
moral values in the age of digital and social media; digital art and culture in 
the context of critical theory; environmental and ecological aspects of digital 
capitalism and digital consumer culture.___
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[NetBehaviour] CFP EXTENDED: Journal of Peer Production

[marc.garrett via NetBehaviour]

CFP EXTENDED: Journal of Peer Production

PEER PRODUCTION: RESEARCH AND PRACTICE

The Journal of Peer Production (JoPP) is a volunteer-run peer-reviewed journal 
which has since 2011 both researched and put into practice the principles of 
peer production, understood as a mode of commons-based and oriented production 
in which participation is voluntary and predicated on the self-selection of 
tasks. Notable examples are the collaborative development of Free Software 
projects and of the Wikipedia online encyclopedia. JoPP is an open-access 
journal that allows readers to read, download, copy, distribute and link to the 
full texts of articles. Authors license works under the Creative Commons 
Attribution-ShareAlike 4.0 International (CC BY-SA 4.0) and retain full 
copyright in their work.

In terms of research, we have published ten landmark issues exploring the 
interconnection of peer production with activism, political economy, bio and 
hardware hacking, free software, value and currency, shared machine shops, the 
law, state policies, feminism and queer issues, alternative infrastructures, 
and waged labour. We will publish our eleventh issue on peer production and 
urbanism in January 2018 and our twelfth on the institutionalisation of shared 
machine shops in May 2018.

In terms of practice, we have debated policy decisions on a public and archived 
mailing list. We have renovated the scientific peer review system by publishing 
not only reviews of papers, but also – in order to fully appreciate the impact 
of reviews – original submissions of articles. We have launched a “signalling” 
system so that imperfect articles can be published rapidly, whilst maintaining 
the standards and reputation of the journal.

Having defined the field of peer production studies and put into practice peer 
production principles, we now seek to foster new avenues and partnerships. We 
are calling this new phase in the development of the Journal of Peer Production 
“OPEN”. At the root of “OPEN” is the fact that we now live in an era where 
exclusion and inequality are being justified by overtly racist, even fascist, 
ideas. It is therefore more important than ever for progressives to develop 
viable alternatives to plutocracy and environmental destruction which highlight 
peer values such as inclusion and openness.

There are two parts to JoPP “OPEN”: “OPEN” EOI and “OPEN” CFP.
JOPP: “OPEN” EOI

We are calling for “OPEN” editorial Expressions of Interest from people wanting 
to develop their own take on peer production. This means we are offering our 
website and network of reviewers for the production and dissemination of 
activist or scientific interventions in the field of peer production.

We are open to accounts of projects, to explorations of special interests, to 
analysis of the “infrastructures of the commons” (universal income systems, 
cooperatives and unions, free public services), etc. We are particularly 
interested in initiatives that would disseminate peer production knowledge and 
values to audiences beyond the academic and activist communities.

Please write to the JoPP general public list  with your ideas or if you prefer to discuss them in 
confidence please contact the private JoPP editorial team mailing list 
.

We look forward to hearing from you!
JOPP: “OPEN” CFP ISSUE #13

We are also announcing a Call for Papers for issue #13 of the Journal of Peer 
Production on the theme of “OPEN”. This means that contributions can explore 
any aspect of peer production. Please refer to past issues for examples and to 
our style guidelines for guidance on the type of contributions we accept.
Important dates:

500-word abstracts 15th February 2018

Acceptance of papers 15th March 2018

Full papers due 30th June 2018

Reviews due and sent to authors 30th August 2018

Revised papers due 30th October 2018

Signals due 30th December 2018

Issue released 31st January 2019
Submission guidelines

Extended paper abstracts of up to 500 words are due 15 January, 2018. Peer 
reviewed papers should be no more than 8,000 words.

These should be sent directly to the editors.

All peer reviewed papers will be reviewed according to Journal of Peer 
Production guidelines. See http://peerproduction.net/peer-review/process/ for 
details.

Full papers for peer review will be due by 30th June, 2018.
Editors

For more information and feedback on proposed contributions please contact the 
issue editors:

Mathieu O’Neil | http://bit.ly/2A7JgAV | 
Steve Collins | http://bit.ly/2xNhOmV | 

--
Dr Steve Collins
Senior Lecturer in Multimedia
Department of Media, Music, Communication & Cultural Studies
Macquarie University

P: (02) 9850 2165
W: http://bit.ly/122QivW
L: Y3A 191D___
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[NetBehaviour] Applications Open - Lecturer in Computational Media Arts

[marc.garrett via NetBehaviour]

Applications Open - Lecturer in Computational Media Arts

Lecturer in Computational Media Arts @ University of Plymouth.

https://www.jobs.ac.uk/job/BPV643/lecturer-in-computational-media-arts

We are seeking to appoint a lecturer with HE teaching experience and 
professional practice to support primarily undergraduate study in the BA/BSc 
Digital Media Design course at the University of Plymouth. The post holder 
should be able to evidence an evolving teaching profile appropriate to this 
role as well as experience in relation to the fast moving and developing 
digital media industry, with an extensive knowledge in computational media arts 
– 3D modelling/animation, creative coding, audiovisual design, immersive media.

A high level degree in a relevant discipline is essential. We will consider 
applications that evidence extensive practical or industrial experience in 
relevant areas, with aspirations to engage in meaningful research, innovation, 
commercialisation and public engagement.

Working closely with the existing team, you will take part in curriculum 
development and course management as required. The role also includes delivery 
of teaching/lectures, module leadership, personal tutoring, assessment and 
feedback, maintaining quality of delivery as well as organisation of 
educational field trips/visits, visiting lectures, career spines, student work 
placements and end of year shows as required. In addition, it is expected to 
contribute in teaching activities with collaborating institutes abroad (i.e. 
China).

BA/BSc (Hons) Digital Media Design is an exciting course in the School of Art, 
Design and Architecture, having collaborative relationships with School 
research clusters, and in particular i-DAT (Institute of Digital Art and 
Technology), an open research laboratory for playful experimentation with 
creative technology. Facilities include a unique 40 seat, 9m Full Dome digital 
projection environment, a MakerSpace, and the Smarter Planet Lab created in 
collaboration with IBM, with state of the art digital fabrication suites coming 
online.

This is a part-time position working 29.6 hours per week, and is fixed-term for 
two years due to business demands.

Please include a PDF portfolio of practice with your application or a link to 
your website.

For more information about the programme please visit: 
https://www.plymouth.ac.uk/courses/undergraduate/ba-digital-media-design

For an informal discussion please contact Dr. Stavros Didakis 
stavros.dida...@plymouth.ac.uk (Associate Professor, Programme Leader in 
Digital Media Design).

Applications close on 24th February 2019.___
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[NetBehaviour] Cryptorave #8 transmediale Berlin 31.1.2019

[marc.garrett via NetBehaviour]

!Mediengruppe Bitnik 

16:12 (7 hours ago)
to conn...@bitnik.org

⚡️ CRYPTORAVE #8 ON 31.01.2019 AT TRANSMEDIALE BERLIN ⚡️

Cryptoravers!
Now that the public Cryptorave scene has become a lived reality we're
heading back to Berlin to hijack transmediale festival.

[💅] We're aiming to infect one of the last digital culture festivals in
Berlin before the burning man start-up fuck-joys barren this cityscape
forever.

🦈 Berlin is a city rife with vampiric tendencies and the saga continues
with ethical coders versus startup-by-nature, activists, artists turned
cryptomillionaires, NGOs gone broke, anarcho libertarian trolls and
cryptoravers hitting the freshly gentrified cityscape. There is both
suspicion and revolution in the air and certain users are out for the
blood of all those attending. 🦇

[📡] Mine today for another life. Unlock entry pass by donating your CPU

[🔥] https://0b673cce.xyz/ [🔥]

[🌪] You will be mining not only a new identity this time, but also a
Cryptorave weekend bag. There is only a limited number available on a
first come first served basis...Once they are gone, you only have the
black market to rely on

31 January 2019. 21:00h
Transmediale Berlin [💄][🌐]

_Line-Up

x DJ Schlucht (D.I.Y. Church, Berlin)
x Panasiagirl (no shade, Berlin)
x @¥€$Si PERSE (Internet, Barcelona)

Mine for
◼ 1h to unlock exact location
▪ 4h to unlock new rave life identity
◻ 5h to unlock your core network
▪ 11h to unlock your cryptorave weekend bag

!Mediengruppe Bitnik, Omsk Social Club and Knoth & Renner
https://ww.bitnik.org/___
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[NetBehaviour] Sci-Fi and Social Justice: An Overview. On Furtherfield.

[marc.garrett via NetBehaviour]

Sci-Fi and Social Justice: An Overview. On Furtherfield.

By Paul March-Russell.
https://goo.gl/AHvsdG

"Popularly misunderstood as a cautionary warning against playing God (a notion 
that Shelley only introduced in the preface to the 1831 edition), 
Frankenstein’s meaning is really captured in this passage. Shelley, influenced 
by the radical ideas of her parents, William Godwin and Mary Wollstonecraft, 
makes it clear that the Creature was born good and that his evil was the 
product only of his mistreatment. Echoing the social contract of Jean-Jacques 
Rousseau, the Creature insists that he will do good again if Frankenstein, for 
his part, does the same. Social justice for the unfortunate, the misshapen and 
the abused is what underlies the radicalism of Shelley’s novel."

Paul March-Russell teaches Comparative Literature at the University of Kent and 
is editor of the sf journal, Foundation.___
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[NetBehaviour] Call For Applications - DAT MRes/ResM

[marc.garrett via NetBehaviour]

Call For Applications - DAT MRes/ResM

Digital Art & Technology (DAT) MRes and ResM is open for applications!
https://www.plymouth.ac.uk/courses/postgraduate/mres-digital-art-and-technology

20 years ago the BA/BSc Digital Art and Technology Programme was formed (as BSc 
MediaLab Arts). Originally located in the School of Computing it dealt with 
emergent forms of technology that were very much in a clunky infancy. At the 
end of the last century in the same year as the World Wide Web went global the 
genetic code for the MRes Digital Art & Technology Programme crawled out of a 
technological primordial soup.

M-DAT emerged from an undergraduate course with industrial strength. Since its 
inception the programme has tracked and anticipated the evolution of a volatile 
digital media industry. This evolution has seen practices and processes 
transform more traditional industries, such as publishing and broadcasting, and 
seen new market places and cultural forms emerge through the evolution of the 
Internet. From its early engagement with the World Wide Web and hard disc based 
‘multimedia’, the course is now ideally placed to engage with the next 
generation of internet and mobile technologies, pervasive media, imaging and 
gaming technologies, physical computing and the Internet of Things.

The programme actively encourages students to transform, translate and migrate 
technologies and disciplines. Take advantage of the strong i-DAT community 
actively engaged in educational, research and production. As well as the BA/BSc 
(Hons) Digital Art & Technology Programme (B-DAT) i-DAT provides connections to 
the PhD and research activities of the Research Groups in the Centre for Media 
Art & Design Research in the School of Art & Media. M-DAT has a particularly 
strong relationship with the i-DAT Arts Research Organisation and access to a 
range or resources and tools. These include the IBM Smarter Planet Lab, the 
Immersive Vision Theatre, as well as a range of unique experimental 
technologies.

https://www.plymouth.ac.uk/courses/postgraduate/mres-digital-art-and-technology

https://i-dat.org/

Contact:
David Strang
david.str...@plymouth.ac.uk___
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Re: [NetBehaviour] practice-based PhD thesis in art: From interaction to post-participation: the disappearing role of the active participant

[marc.garrett via NetBehaviour]

Hi Varvara,

Much thanks for sharing to the list - will read ;-)

Wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Marc Garrett – Unlocking Proprietorial Systems for Artistic Practice.
Posted in Journal Issues, Research Values. VOLUME 7, ISSUE 1, 2018
http://www.aprja.net/unlocking-proprietorial-systems-for-artistic-practice/

Furtherfield Editorial – Border Disruptions: Playbour & Transnationalisms.
https://www.furtherfield.org/editorial-border-disruptions-playbour-transnationalisms/

Sent with [ProtonMail](https://protonmail.com) Secure Email.

‐‐‐ Original Message ‐‐‐
On Wednesday, 26 December 2018 23:45, Varvara Guljajeva via NetBehaviour 
 wrote:

> Dear readers,
>
> I have recently successfully depended my PhD dissertation at Estonian Academy 
> of Arts and thought to share the digital version of it, since topic might be 
> interesting for this mailing list audience.
>
> Title: [From interaction to post-participation: the disappearing role of the 
> active 
> participant](https://eka.entu.ee/shared/429088/GsqzlotFPrFi1tdtAmVX1Wo8cxFWi4iQjntDJcO4n0mE5NAx8K8pef9V3AC9k3lB)
> Supervisors: dr Raivo Kelomees (Estonian Academy of Arts) and dr Pau Waelder 
> (The Open University of Catalonia)
>
> Pre-reviewers: Prof dr Christa Sommerer (Interface Cultures, The University 
> of Art and Design Linz) and Prof dr Moises Mañas Carbonell (Faculty of Fine 
> Arts, Polytechnic University of Valencia)
>
> Opponent: Prof dr Christa Sommerer (Interface Cultures, The University of Art 
> and Design Linz)
>
> The practice-based dissertation analyses and contextualises passive audience 
> interaction through the lens of post-participation. Research explores the 
> shift from active to passive participation in interactive art. By exploring 
> interactive art history and the discourse of identity within the field, this 
> dissertation investigates how artworks that demonstrate no audience 
> involvement, but still incorporate an internal system interaction with a data 
> source, are addressed. In other words, the research tracks down the interest 
> shift from human-machine to system-to-system interaction, and explores the 
> reasons behind this.
>
> In this thesis, a differentiation is made between direct and indirect 
> post-participation. Hence, the selected artworks are analysed from the 
> perspective of concept, direct or indirect post-participation components, and 
> realisation. In addition, related artworks by other artists are introduced 
> and discussed under each subcategory of post-participation.
>
> In the end, the dissertation contributes to the evolution of interactive art, 
> by analysing and contextualising passive audience participation in the form 
> of post-participation. Author argues that the concept of post-participation 
> helps to address the shift from an active to a passive spectator in the 
> complex age of dataveillance, an age in which humans are continuously 
> tracked, traced, monitored and surveilled without our consent.
>
> Please find the PhD thesis 
> [here](https://eka.entu.ee/shared/429088/GsqzlotFPrFi1tdtAmVX1Wo8cxFWi4iQjntDJcO4n0mE5NAx8K8pef9V3AC9k3lB).
>
> best regards,
>
> Varvara Guljajeva, PhD___
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[NetBehaviour] Fw: [spectre] // BLACKLIST Berlin #4: What Is Democracy? //

[marc.garrett via NetBehaviour]

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/galleryCurrently 
writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Marc Garrett – Unlocking Proprietorial Systems for Artistic Practice.
Posted in Journal Issues, Research Values. VOLUME 7, ISSUE 1, 2018
http://www.aprja.net/unlocking-proprietorial-systems-for-artistic-practice/

Furtherfield Editorial – Border Disruptions: Playbour & Transnationalisms.
https://www.furtherfield.org/editorial-border-disruptions-playbour-transnationalisms/

Sent with ProtonMail Secure Email.

‐‐‐ Original Message ‐‐‐
On Friday, 16 November 2018 12:58, Julian Oliver  
wrote:

> Dear Spectre,
>
> You are cordially invited to our fourth BLACKLIST event at Spektrum Berlin, on
> Thursday November the 22nd.
>
> 
> Do we really live in a democracy? Do we even know what Democracy is?
>
> BLACKLIST #4 asks these questions in the context of the newly-released
> documentary "What Is Democracy?" by director Astra Taylor (Žižek!, Examined
> Life).
>
> Coming at a moment of profound political and social crisis, What Is Democracy?
> reflects on a word we too often take for granted.
>
> Director Astra Taylor’s idiosyncratic, philosophical journey spans millennia 
> and
> continents: from ancient Athens’ groundbreaking experiment in self-government 
> to
> capitalism’s roots in medieval Italy; from modern-day Greece grappling with
> financial collapse and a mounting refugee crisis to the United States 
> reckoning
> with its racist past and the growing gap between rich and poor.
>
> Featuring a diverse cast—including celebrated theorists, trauma surgeons,
> activists, factory workers, asylum seekers, and former prime ministers—this
> urgent film connects the past and the present, the emotional and the
> intellectual, the personal and the political, in order to provoke and inspire.
> If we want to live in democracy, we must first ask what the word even means.
>
> PANELISTS
>
> Abid Muhajir - Features in the film. Former English teacher born in 
> Afghanistan,
> grew up in Pakistan.
>
> Liza Pflaum - Political scientist, activist and co-founder of the Seebrücke
> movement.
>
> Shanon Bobinger - Speaker, cultural bridge-builder.
>
> Moderated by Jean Peters artist and co-founder of culture jamming activist 
> group
> Peng! Collective.
>
> The panel begins at 21:30 and will be held in English. We invite audience
> engagement in English, German and French.
>
> Please find more about the event, alongside an RSVP email address, map and
> trailer for What Is Democracy? here:
>
> https://blackl.st
>
> As this is a free and popular event with limited seats, we kindly ask you RSVP
> at least 48hrs beforehand.
>
> 
>
> BLACKLIST is a series of public documentary film screenings and accompanying
> panel sessions thematically grouped around the significant societal and
> environmental challenges of our time. Themes include (yet are not limited to)
> Militarisation of Police, Automated Systems and Artificial Intelligence, Mass
> Surveillance, 21st Century Fascism, Over-consumption, The 6th Mass Extinction,
> Food Security and Climate Change.
>
> Each screening comprises a single newly-released documentary film and panel of
> four to six guests whose members are considered experts and/or activists 
> closely
> related to the (given) theme. It is the goal of this panel to address 
> tensions,
> challenges and mitigation strategies following the screening, inviting debate
> and discussion to the ends of encouraging engagement.
>
> In short, BLACKLIST aims to bring attendees in contact with activists around
> themes already important to them, stimulating their own 'latent activist' to 
> get
> involved toward the ends of enacting positive change.
>
> BLACKLIST is derived from its parent Black Sheep; the initiative of Ziya Tong,
> Black Sheep events comprise private, ad-hoc screenings to activists in cities
> worldwide.
>
> https://blackl.st
>
> BLACKLIST is kindly supported by:
>
> Spektrum http://spektrumberlin.de/
> Black Sheep http://blacksh33p.org/
> HotDocs https://www.hotdocs.ca/
>
> Kind regards,
>
> -

Re: [NetBehaviour] University of Basel | Lecture series 'Frankenstein' in the 21st Century | Marc Garrett (University of London)

[marc.garrett via NetBehaviour]

Hi Annie & Alan,

A Warm thanks for your response to you both - and yes, Frankenstein has always 
fascinated me, but especially Mary Shelley, Percy Shelley, her parents, and the 
politics of the time . Which is why I have been writing certain essays written 
and getting shows together on the theme.


Wishing you well.

marc


Sent with ProtonMail Secure Email.

‐‐‐ Original Message ‐‐‐
On Sunday, 28 October 2018 14:25, Alan Sondheim  wrote:

> Congratulations on this! I wish I was there (well, 'were there'?);
> Frankenstein has always been one of my favorite books - and I'm fascinated
> by The Last Man as well etc. -
>
> Wonderful!
>
> On Sun, 28 Oct 2018, marc.garrett via NetBehaviour wrote:
>
> > Hi all,
> > If you are in Basel on Oct 31st come along & say hello...
> > Lecture series 'Frankenstein' in the 21st Century | Marc Garrett (University
> > of London)
> > At University of Basel.
> > Lecture series 'Frankenstein' in the 21st Century.
> > By Marc Garrett (University of London).
> > Lecture from 6.15 - 8pm
> > October 31st 2018.
> > University of Basel. Department of Languages and Literatures.
> > http://bit.ly/2SofzC5
> > Marc Garrett's presentation is a contemporary take on Mary Shelley?s
> > Frankenstein and asks us to reconsider her warning, that scientific
> > imagining and all technologies have unintended and dramatic consequences for
> > the world. It also invites us to ask the same about the arts and human
> > imagination. Shelley?s classic, gothic horror and science fiction novel, has
> > inspired millions since it was written 200 years ago in 1816, and then
> > published anonymously in London in 1818. It offers a lens through which to
> > look at the practices of arts and sciences today and how they shape 
> > society?s
> > relationship with technology.
> > The presentation considers the roles of our arts and science traditions and
> > examines these issues as part of everyday life; as they are played out in
> > the anthro?pocene, climate change, gender politics, ethics, governance,
> > surveillance, posthumanism, transhumanism, hacking, biohacking, colonialism,
> > post-colonialism, neoliberalism, biopolitics and accelerationism. Dr.
> > Frankenstein plays the role of the Promethean scientist, a creative genius,
> > and also a narcissist tangled up in his own individual desires, exploiting
> > others in an irresponsible and abusive drive to control nature. But, who is
> > the real monster?
> > Marc Garrett is co-director and co-founder, with artist Ruth Catlow of the
> > arts collective Furtherfield (a gallery and a Commons lab, both situated in
> > the park, in Finsbury Park, London), that began on the Internet in 96. He
> > has curated over 50 contemporary Media Arts exhibitions and projects, both
> > nationally and internationally. He is the main editor of the reviews,
> > articles and interviews on the Furtherfield website and has written book
> > chapters and articles about art, technology and social change, most recently
> > in Artists Re:Thinking the Blockchain (Torque Editions and Furtherfield,
> > 2017, ed. with Ruth Catlow, Nathan Jones, and Sam Skinner). And Artists
> > Re:Thinking Games (Liverpool University Press, 2010, ed. with Ruth Catlow
> > and Corrado Morgana). He is currently in the last year of his PhD in Art
> > History at the University of London, Birkbeck College.
> > Notes:
> > Research materials relevant to the talk.
> > 'Monsters of the Machine: Frankenstein in the 21st Century' at Laboral in
> > 2016.
> > http://www.laboralcentrodearte.org/en/exposiciones/monsters-of-the-machine
> > The smaller version 'Children of Prometheus' at Furtherfield gallery
> > https://www.furtherfield.org/events/children-of-prometheus/
> > Marc Garrett?s essay ?Prometheus 2.0: Frankenstein Conquers the World!?
> > https://www.furtherfield.org/prometheus-2-0-frankenstein-conquers-the-world
> > /
> > Monsters of the Machine and Children of Prometheus (Resource) page
> > https://marcgarrett.org/2016/06/07/curating-monsters-of-the-machine/
> > Marc Garrett
> > Co-Founder, Co-Director and main editor of Furtherfield.
> > Art, technology and social change, since 1996
> > http://www.furtherfield.org
> > Furtherfield Gallery & Commons in the park
> > Finsbury Park, London N4 2NQ
> > http://www.furtherfield.org/gallery
> > Currently writing a PhD at Birkbeck University, London
> > https://birkbeck.academia.edu/MarcGarrett
> > Just published: Artists Re:thinking the Blockchain
> > Eds, Ruth Catlow, Marc Ga

[NetBehaviour] University of Basel | Lecture series 'Frankenstein' in the 21st Century | Marc Garrett (University of London)

[marc.garrett via NetBehaviour]

Hi all,

If you are in Basel on Oct 31st come along & say hello...

Lecture series 'Frankenstein' in the 21st Century | Marc Garrett (University of 
London)

At University of Basel.
Lecture series 'Frankenstein' in the 21st Century.
By Marc Garrett (University of London).

Lecture from 6.15 - 8pm
October 31st 2018.
University of Basel. Department of Languages and Literatures.
http://bit.ly/2SofzC5

Marc Garrett's presentation is a contemporary take on Mary Shelley’s 
Frankenstein and asks us to reconsider her warning, that scientific imagining 
and all technologies have unintended and dramatic consequences for the world. 
It also invites us to ask the same about the arts and human imagination. 
Shelley’s classic, gothic horror and science fiction novel, has inspired 
millions since it was written 200 years ago in 1816, and then published 
anonymously in London in 1818. It offers a lens through which to look at the 
practices of arts and sciences today and how they shape society’s relationship 
with technology.

The presentation considers the roles of our arts and science traditions and 
examines these issues as part of everyday life; as they are played out in the 
anthro­pocene, climate change, gender politics, ethics, governance, 
surveillance, posthumanism, transhumanism, hacking, biohacking, colonialism, 
post-colonialism, neoliberalism, biopolitics and accelerationism. Dr. 
Frankenstein plays the role of the Promethean scientist, a creative genius, and 
also a narcissist tangled up in his own individual desires, exploiting others 
in an irresponsible and abusive drive to control nature. But, who is the real 
monster?

Marc Garrett is co-director and co-founder, with artist Ruth Catlow of the arts 
collective Furtherfield (a gallery and a Commons lab, both situated in the 
park, in Finsbury Park, London), that began on the Internet in 96. He has 
curated over 50 contemporary Media Arts exhibitions and projects, both 
nationally and internationally. He is the main editor of the reviews, articles 
and interviews on the Furtherfield website and has written book chapters and 
articles about art, technology and social change, most recently in Artists 
Re:Thinking the Blockchain (Torque Editions and Furtherfield, 2017, ed. with 
Ruth Catlow, Nathan Jones, and Sam Skinner). And Artists Re:Thinking Games 
(Liverpool University Press, 2010, ed. with Ruth Catlow and Corrado Morgana). 
He is currently in the last year of his PhD in Art History at the University of 
London, Birkbeck College.

Notes:

Research materials relevant to the talk.

'Monsters of the Machine: Frankenstein in the 21st Century' at Laboral in 2016.
http://www.laboralcentrodearte.org/en/exposiciones/monsters-of-the-machine

The smaller version 'Children of Prometheus' at Furtherfield gallery
https://www.furtherfield.org/events/children-of-prometheus/

Marc Garrett’s essay “Prometheus 2.0: Frankenstein Conquers the World!”
https://www.furtherfield.org/prometheus-2-0-frankenstein-conquers-the-world/

Monsters of the Machine and Children of Prometheus (Resource) page
https://marcgarrett.org/2016/06/07/curating-monsters-of-the-machine/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Marc Garrett – Unlocking Proprietorial Systems for Artistic Practice.
Posted in Journal Issues, Research Values. VOLUME 7, ISSUE 1, 2018
http://www.aprja.net/unlocking-proprietorial-systems-for-artistic-practice/

Furtherfield Editorial – Border Disruptions: Playbour & Transnationalisms.
https://www.furtherfield.org/editorial-border-disruptions-playbour-transnationalisms/

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[NetBehaviour] Sociality, a new project by Paolo Cirio.

[marc.garrett via NetBehaviour]

Sociality, a new project by Paolo Cirio.

PRESS RELEASE, October 12th 2018, NYC.

Human sociality is being engineered and patented.
https://SOCIALITY.today

The artist Paolo Cirio investigated public repositories of patents to reveal 
thousands of technologies that conceal the social control, manipulation, and 
surveillance at play on the Internet.

Sociality aims to exploit intellectual property laws for monitoring and 
regulating information technology. As an artistic provocation, it proposes the 
oversight, flagging, and banning of socially harmful inventions that employ 
devious psychological and profiling tactics through artificial intelligence, 
algorithms, data mining, social media, user interfaces, and tracking, in favor 
of a more ethical use of technology.

Today, human sociality and psychology are affected by devices subtly designed 
to program social behaviors. Sociality seeks to inspire regulations, 
accountability, and public awareness regarding these apparatuses. Beyond 
addressing the technology itself, the artwork looks at intellectual property as 
a political and economic field that has become applied to the sociality of 
humans. Our sociality is now being owned and traded by private companies 
without public scrutiny. This artwork documents the history of the unscrupulous 
business of engineering human sociality with the introduction of technology for 
social networks, Internet advertising, and even mind-reading.

On Sociality’s website everyone is able to browse, search, submit, and rate 
patents by their titles, images of flowcharts, and the companies that created 
them. Both the artist and the online participants perform oversight of invasive 
inventions designed to target demographics, push content, coerce interactions, 
and monitor citizens. In the exhibition, the public confronts large-scale 
compositions with images of flowcharts that abstractly invoke the complexity 
and magnitude of uncanny plans to program people. Images of flowcharts of 
patents are composed with short descriptions and patent numbers to be shared 
online or through printouts distributed at art shows and in the public space.

The documentary form of this artwork aims to shed light on contemporary 
mechanisms of social control by showing evidence of complex technological 
systems and their roles in enabling addiction, opinion formation, deceptions, 
discrimination, and profiling. Sociality examines the concepts of social 
bubbles, algorithmic bias, amplification of misinformation, behavior 
modification, tech addiction, and corporate surveillance. Expanding from 
privacy and bias, this project focuses on technology for the manipulation of 
human behaviors and psyche. Attention economy, steered social validation, and 
habit forming products can be psychologically damaging and impact social 
relationships to the point of harming the fabric of society and endangering 
democracy.

We regulate the financial sector, we have check and balance in the government, 
we ban the sale of guns, and toxic chemicals. As information technology impacts 
society perilously, we must also regulate both centralized and decentralized 
platforms, infrastructures, and interfaces with inventive, restrictive, and 
reflexive policies.

The first presentations and interventions with Sociality will be on October 
13th at MIT - Massachusetts Institute of Technology and at the Berkman Klein 
Center for Internet & Society, Harvard University on October 12th.

Read more about the Sociality project here:
https://SOCIALITY.today/about/

Regulatory Art
The cultural celebration of technology concerns the ethics of representation. 
Critical art should account for the intentional and unintentional social 
consequences caused by technolibertarianism. In a time when institutions 
struggle to regulate technology, artists can creatively engage with regulations 
and governance as a form of Regulatory Art. Technology is now a cultural field 
in which belief systems, politics, and ethics are central in determining the 
acceptance of any technological system. Data, code, crypto, and platforms are 
not the law, nor above it, and they should never be. Technology has become a 
political agent and its governance needs creative, critical, and dynamic 
propositions from artists. Regulatory Art is the practice of addressing, 
engaging, and inquiring about regulations in the technocratic society we live 
in.

Paolo Cirio also addresses the politics of Internet regulations in his ongoing 
projects https://Obscurity.online and https://Right2Remove.us

The project Obscurity connected individuals affected by the mugshot publishing 
industry and provided a point of departure for the project Right2Remove to 
regulate the exposure of stigmatizing and abusive content on Internet search 
engines.

After two years of activism and organizing, Right2Remove grew into a community 
of activists, lawyers, and journalists spread across the United States and 
internationally. Right2Rem

[NetBehaviour] Blockchain, the Trust Catalyst - Neural 60

[marc.garrett via NetBehaviour]

Blockchain, the Trust Catalyst - Neural 60

"Neural 60, Blockchain. The Trust Catalyst" (Neural #60) is still available! 
Subscribe now!
You can also subscribe to the magazine Digital Edition, accessing all issues 
since #28.

Only subscribers will get Garnet Hertz intervention sticker "The Maker's Bill 
of Rights" !

. . . . . . . . . . . . . . . . . . . . . . . . .
Print Subscription, 3 issues + extra
Europe, 34,90 Euros - World, 54,50 U.S. Dollars.
. . . . . . . . . . . . . . . . . . . . . . . . .
Digital Subscription, accessing all issues since #28.
. . . . . . . . . . . . . . . . . . . . . . . . .
Back Issues Pack, get all the previous 34 issues (till they are all available)
. . . . . . . . . . . . . . . . . . . . . . . . .
Neural Facebook Page, "like it" if you want
. . . . . . . . . . . . . . . . . . . . . . . . .
Neural @ Twitter, follow it if you like
. . . . . . . . . . . . . . . . . . . . . . . . .
Summer  2018, ISSN: 2037-108X
. . . . . . . . . . . . . . . . . . . . . . . . .
Neural #60, " Blockchain. The Trust Catalyst."

Centrefold: Border Crossers, rebalancing reason

interviews:

. Olivier Sarrouy
. Furtherfield (Ruth Catlow & Marc Garrett)
. Holly Herndon and Mat Dryhurst
. Martín Nadal
. Ami Clarke
. Sarah Friend

articles:

. A token called ART
. How is the Blockchain Transforming the Art World?

reports:

. 5th meta.morf “A Beautiful Accident”
. Transmediale 2018 “face value”

news:

. Die With Me, the last five percent
. Weeping Angel, a flag with a code
. The BitSoil Popup Tax and Hack Campaign, data economy reversed
. Untitled [Eavesdrop], vintage surveillance
. Our Friends Electric, the alter ego machines
. CarbonScape, disquieting noise
. DSD-08AS, methodological a/synchronicity
. Physical Rhythm Machine / Boem BOem, machinic/tribal space
. Messenger, signals from space
. The Optical Sound Orchestra, composing with projectors
. The Offshore Tour Operator, art as financial optimiser
. A Diverse MonoCulture, ambiguous robot predators
. entangled, an infinite small space
. Prosthetic Photographer, reverse clicking
. Amygdala, AI-led body politics

books/dvds:

. Kate Mondloch / A Capsule Aesthetic
. Jaron Lanier / Dawn of the New Everything
. Baruch Gottlieb / Digital Materialism
. edited by Olga Mink & Wiepko Oosterhuis / Economia: Methods for Reclaiming 
Economy
. edited by Dominik Landwehr / Machines And Robots
. Brandon LaBelle / Sonic Agency
. Damon Krukowski / The New Analog
. Jerome Lefevre, Pierre-Nicolas Ledoux / Optical Sound & Pierre Belouin : 
1997-x Broche
. edited by canecapovolto / Retrodigital
. edited by Alex McLean, Roger T. Dean / The Oxford Handbook of Algorithmic 
Music
. Time’s Up / Ambiguous & Incomplete
. Simon Penny / Making Sense
. Shannon Mattern / Code and Clay, Data and Dirt
. Hito Steyerl / Duty Free Art
. edited by Annet Dekker / Lost and Living (in) Archives

cd reviews:

. Yoshio Machida + Constantin Papageorgiadis: Music from the SYNTHI 100: Amorfon
. Simon Cummings: (ma): Crónica
. Twentytwentyone + Diissc Orchestra: Split: MICL
. Plaster: Transition: Kvitnu
. Zoe Mc Pherson: String Figures: SVS
. Goh Lee Kwang & Christian Meaas Svendsen: Gibberish, Balderdash And Drivel: 
Nakama
. Gintas K: Acousma Light: GK
. Orson Hentschel: Facades: Denovali
. Cut Worms: Cable Mounds: Opa Loka
. Christina Kubisch, Annea Lockwood: The secret life of the inaudible: 
Gruenrekorder
. PLY: Rends-Toi: Warm
. Othello Aubern: Two-Way Switch: Le Cabanon
. MP Hopkins: G.R/S.S: Aussenraum
. Jemh Circs: (untitled) Kingdom: Cellule 75
. Matter: Dangerous Vision: Black Chrysalis
. Yann Novak: The Future is a Forward Escape Into the Past: Touch
. Lucrecia Dalt: Anticlines: RVNG Intl
. Ohm: G5: Dinzu Artefacts
. Zibuokle Martinaityte: Horizons: MICL
. Andrey Kiritchenko: Overt: Spekk___
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[NetBehaviour] Furtherfield Archive. Nam June Paik – Video Philosopher. Interviewed by By Lynn Hershman Leeson.

[marc.garrett via NetBehaviour]

Furtherfield Archive. Nam June Paik – Video Philosopher.
Interviewed by By Lynn Hershman Leeson.

Lynn Hershman Leeson is a renowned and accomplished artist and filmmaker in her 
own right. Over the last three decades she has pioneered uses of new 
technologies in critical investigations of issues, recognised as key to the 
workings of our society today. She tackles the big questions surrounding: 
identity in a time of consumerism; privacy in a era of surveillance; the 
interfacing of humans and machines; the relationship between real and virtual 
worlds; and growing parts of the human body from DNA samples. Last year Modern 
Art Oxford hosted a major solo exhibition of her work Origins of a Species, 
Part 2 and she has work in The Electronic Superhighway, at Whitechapel Gallery, 
in London at the moment. Her work has had a strong influence on many 
contemporary artists working with technology. Recently, ZKM in cooperation with 
the Deichtorhallen Hamburg / Sammlung Falckenberg exhibited the first 
comprehensive retrospective of Leeson’s oeuvre, and also the most recent 
productions of her work. In May this year a book of the same name Civic Radar, 
will be published, featuring a comprehensive monograph of this Feminist pioneer 
in the fields of film and performance art, edited by Peter Weibel.

Nam June Paik was born in 1932 Seoul, Korea and died 2006. Many in the artworld 
regard him as a visionary artist, thinker, and innovator. Considered the 
“father of video art,” his groundbreaking use of video technology blurred past 
distinctions between science, fine art, and popular culture to create a new 
visual language. Paik’s interest in exploring the human condition through the 
lens of technology and science has created a far-reaching legacy that may be 
seen in broad recognition of new media art and the growing numbers of 
subsequent generations of artists who now use various forms of technology in 
their work.

Through his progressive ideas and artworks Paik dared to imagine a future where 
the technological and playful innovations that we now take for granted might 
exist. This interview with Hershman Leeson is timely, documenting the meeting 
of two imaginative beings who have changed the history of work at the 
intersection of art and technology. The issues they discuss are as important 
now as they were then.

Nam June Paik, “Merce/Digital,” 1988 single-channel video sculpture with 
vintage television cabinets and fifteen monitors; color, silent, collection of 
Roselyne Chroman Swig, Copyright Nam June Paik Estate. (Image courtesy Nam June 
Paik Estate)

https://www.furtherfield.org/nam-june-paik-video-philosopher/

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[NetBehaviour] Rethinking AI through the politics of 1968. Dan Mcquillan

[marc.garrett via NetBehaviour]

Rethinking AI through the politics of 1968.

By Dan Mcquillan

This talk was given at the conference 'Rethinking the legacy of 1968: Left 
fields and the quest for common ground' held at The Centre for Cultural Studies 
Research, University of East London on September 22nd 2018

There's a definite resonance between the agitprop of '68 and social media. 
Participants in the UCU strike earlier this year, for example, experienced 
Twitter as a platform for both affective solidarity and practical 
self-organisation1. However, there is a different geneaology that speaks 
directly to our current condition; that of systems theory and cybernetics. What 
happens when the struggle in the streets takes place in the smart city of 
sensors and data? Perhaps the revolution will not be televised, but it will 
certainly be subject to algorithmic analysis. Let's not forget that 1968 also 
saw the release of '2001: A Space Odyssey' featuring the AI supercomputer HAL.

While opposition to the Vietnam war was a rallying point for the movements of 
'68, the war itself was also notable for the application of systems analysis by 
US Secretary of Defense Robert McNamara, who attempted to make it, in modern 
parlance, a data-driven war. During the Vietnam war the hamlet pacification 
programme alone produced 90,000 pages of data and reports a month2, and the 
body count metric was published in the daily newspapers. The milieu that helped 
breed our current algorithmic dilemmas was the contemporaneous swirl of systems 
theory and cybernetics, ideas about emergent behaviour and experiments with 
computational reasoning, and the intermingling of military funding with the 
hippy visions of the Whole Earth Catalogue.

The double helix of DARPA and Silican Valley can be traced through the 
evolution of the web to the present day, where AI and machine learning are 
making inroads everywhere carrying their own narratives of revolutionary 
disruption; a Ho Chi Minh trail of predictive analytics. They are playing Go 
better than grand masters and preparing to drive everyone's car, while the 
media panics about AI taking our jobs. But this AI is nothing like HAL, it's a 
form of pattern finding based on mathematical minimisation; like a complex 
version of fitting a straight line to a set of points. These algorithms find 
the optimal solution when the input data is both plentiful and messy. 
Algorithms like backpropagation3 can find patterns in data that were 
intractable to analytical description, such as recognising human faces seen at 
different angles, in shadows and with occlusions. The algorithms of Ai crunch 
the correlations and the results often work uncannily well.

The rest of text here...
http://rethinking1968.today/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Marc Garrett – Unlocking Proprietorial Systems for Artistic Practice.
Posted in Journal Issues, Research Values. VOLUME 7, ISSUE 1, 2018
http://www.aprja.net/unlocking-proprietorial-systems-for-artistic-practice/

Furtherfield Editorial – Border Disruptions: Playbour & Transnationalisms.
https://www.furtherfield.org/editorial-border-disruptions-playbour-transnationalisms/

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[NetBehaviour] Call for Papers - Art Machines: International Symposium on Computational Media Art (ISCMA 2019)

[marc.garrett via NetBehaviour]

Call for Papers -  Art Machines: International Symposium on Computational Media 
Art (ISCMA 2019)

We are now calling for papers for Art Machines: International Symposium on 
Computational Media Art (ISCMA), which will take place between 4th  – 7th 
January 2019 at the School of Creative Media, City University of Hong Kong. 
“Art Machines” will bring together Academics, Artists and Professionals in the 
field of Computational Media Art in a four-day symposium whose core theme will 
be the topic of Machine Learning and Art.

This agenda-setting Symposium will provide an opportunity for in depth 
reflection upon and assessment of the impact of artificial intelligence on the 
making of computational art and media, as well as to reflect more broadly on 
the conditions of existence, range, and futures of computationally based art 
and media. In addition to the academic keynotes, panels and discussion forums, 
the conference will include the presentation of artistic projects, a major 
concurrent exhibition on Asian Digital Art, and a student-led Workshop.

Open Call Topics

1. Machine Learning and Art (core theme)

2. Sound Art

3. Immersive Media

4. Digital Cinema

5. Digital Animation

6. Gaming

7. Computational Humanities

8. Creative Coding

9. Urban Media

10. Digital Fabrication

11. Physical Computing

12. Digital Preservation

13. Curatorial Practice

14. Brain Computer Interface

15. Other Topics Pertaining to Computational Media Art

Open Call Formats

1. Research Papers (double-blind review)

2. Scholarly Abstracts

3. Artistic Project Abstracts

4. Pre-Constituted Scholarly or Artistic Project Panels

5. Posters

The submission deadline has been extended to 1st September 2018.

All accepted research papers, scholarly/artistic project abstracts, panel 
abstracts, abstracts of the accepted posters will be published in full in the 
conference proceedings. Selected papers will be invited for publication in the 
ACM TOMM Special Issue on Big Data, Machine Learning and AI Technologies for 
Art and Design.

To learn more about the Symposium, please visit our website: 
https://www.cityu.edu.hk/iscma.

For details on the submission requirements, please click 
https://www.cityu.edu.hk/iscma/submission-types.

For enquiries, please contact us at (852) 34428049 or via email 
smpap...@cityu.edu.hk.

You are also welcome to follow us on these channels:

Facebook: 
https://www.facebook.com/Art-Machines-International-Symposium-on-Computational-Media-Art-168531567118660/?ref=bookmarks

Instagram: https://www.instagram.com/iscma2019

Symposium Organising Committee

School of Creative Media, City University of Hong Kong___
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[NetBehaviour] Treebour. Do we pay trees fairly for the immaterial labour they perform for us?

[marc.garrett via NetBehaviour]

Treebour. Do we pay trees fairly for the immaterial labour they perform for us?

Regine Debatty on WMMNA interviews Marija Bozinovska Jones - 
https://bit.ly/2ngZGil

Very few of us think of trees in terms of how hardworking they are. And yet, 
they work 24/7 and most of their labour is to our benefit. Trees (and any plant 
for that matter) perform all kinds of services for us. They shelter us against 
the elements, they help filter water and cool the air, soak up solar radiation, 
prevent soil erosion, provide living space for wildlife, can be turned into 
wood, some of them bear fruit and beautiful flowers, etc. They also perform all 
sorts of ‘cultural services’ for us: they help us unwind, inspire art, mental 
well-being and spiritual experiences. All of us, human and non-human alike, 
benefit from their presence around us.

Artist Marija Bozinovska Jones pays homage to ‘treebour’ in her contribution to 
'Playbour – Work, Pleasure, Survival', an exhibition at Furtherfield in London 
that explores an issue that deserves more attention: the blurring between work, 
well-being and play in an age of increasingly data-driven technologies.___
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[NetBehaviour] Discussing ‘Playbour – Work, Pleasure, Survival’ with Dani Admiss

[marc.garrett via NetBehaviour]

Discussing ‘Playbour – Work, Pleasure, Survival’ with Dani Admiss

Marc Garrett interviews curator Dani Admiss about how the data-driven 
gamification of life and everything has shaped the development of 'Playbour – 
Work, Pleasure, Survival' at Furtherfield, and why the Gallery is currently 
being transformed into a psychological environment.

Gallery visitors are presented with a series of game-like installations, which 
are the result of the shared and collective cognitive labour of artists, 
curators and gallery staff. First the artists, and then the public (as players) 
are invited to test the processes and experiences offered by new mechanisms of 
play and labour. Each ‘game’ simulates an experience of how some techniques and 
technologies of gamification, automation, and surveillance, are at work in our 
everyday lives, in order to capture all forms of existence. 
http://bit.ly/2uD7NZZ

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Marc Garrett – Unlocking Proprietorial Systems for Artistic Practice.
Posted in Journal Issues, Research Values. VOLUME 7, ISSUE 1, 2018
http://www.aprja.net/unlocking-proprietorial-systems-for-artistic-practice/

Furtherfield Editorial – Border Disruptions: Playbour & Transnationalisms.
https://www.furtherfield.org/editorial-border-disruptions-playbour-transnationalisms/

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[NetBehaviour] What would you have loved to have been taught in history classes that you didn't learn in school?

[marc.garrett via NetBehaviour]

What would you have loved to have been taught in history classes that you 
didn't learn in school?

This is my own list below regarding living in England - it could easily be much 
more.

I discovered all of the below, outside of the realms of traditional, education 
in the end...

Thomas Paine,
Mary Prince,
Feminism,
Martin Luther King,
Percy Shelley,
Jeremy Bentham,
William Cuffay,
Mary Wollstonecraft,
Mary Shelley,
Oliver Cromwell,
The True Levellers,
The Diggers,
Ghandi,
The Gordon Riots,
The Enclosures,
William Blake,
Women thinkers & Artists,
The West African Student Union,
Marxism,
Irish, Welsh, Scottish politics
Adam Smith,
Henry Sylvester Williams...

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Marc Garrett – Unlocking Proprietorial Systems for Artistic Practice.
Posted in Journal Issues, Research Values. VOLUME 7, ISSUE 1, 2018
http://www.aprja.net/unlocking-proprietorial-systems-for-artistic-practice/

Furtherfield Editorial – Border Disruptions: Playbour & Transnationalisms.
https://www.furtherfield.org/editorial-border-disruptions-playbour-transnationalisms/

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[NetBehaviour] The Web that Was: Archives, Traces, Reflections

[marc.garrett via NetBehaviour]

The Web that Was: Archives, Traces, Reflections

A three-day conference, University of Amsterdam, the Netherlands, June
19-21, 2019. The third biennial RESAW (Research Infrastructure for the
Study of Archived Web Materials) conference. Organized by the University of
Amsterdam.

*** Keynote speakers ***

Megan Ankerson, Assistant Professor of Communication Studies, University of
Michigan
Wendy Chun, Canada 150 Research Chair, Simon Fraser University
Florian Cramer, Professor of Applied Research, Rotterdam University of
Applied Sciences
Olia Lialina, Professor of New Media, Merz Akademie
Fred Turner, Harry and Norman Chandler Professor and Chair of the
Department of Communication, Stanford University

*** Special event ***

The conference will host a lecture-performance by Geert Lovink (Institute
of Network Cultures, Hogeschool van Amsterdam) and guests on the history
and preservation of Amsterdam’s early internet culture.

*** Call for contributions ***

As the first generation of web users goes grey, it's clear that the
internet they remember is no longer around. The early web is now simply
another object of nostalgia. Tech anniversaries are a dime a dozen, while
once cool digital aesthetics have made several ironic comebacks. All of
this reinforces a sense that we've left behind a digital history that was
as clunky and slow as it was idealistic and naïve.

How can we rethink this relationship to the web's past and the past web?
This question is crucial today as the open web continues to lose ground to
platforms and apps. How can this history be reconstructed and re-evaluated,
and how are web archives and web histories impacted by technological
change? What do traditional problems of preservation and historiography
look like at scale? And what stories capture the diverse transformations
and continuities that mark nearly 30 years of web history?

There is of course no single web history, materially or conceptually
speaking. There is instead a politics of archives, technologies and
discourses that needs to be uncovered. How can we expand our view of web
history beyond Silicon Valley and celebrated cases? And how can we reveal
the technological, social and economic contexts that have shaped not just
the present web, but how we access its past? What role do archives play in
uncovering the histories of the web, platforms and apps, as well as their
production and usage contexts?

This conference aims to bring together scholars, archivists and artists
interested in preserving, portraying and otherwise engaging with the web
that was. In addition to paper submissions, we invite proposals for
audiovisual installations, posters, software demos, or other media that
connects to the conference themes.

Submissions in the form of an abstract may relate to, but are not limited
by, the following topics:

* Web and internet histories
* Historicizing the web and digital culture
* Web 1.0, Web 2.0 and critiquing periodizations
* Past futures and paths not taken
* Platformization and the changing structure of the web
* Social imaginaries of the early web
* Archives and access
* Research methods for studying the archived web
* Methods for platform and app histories
* Ethics of (studying) web archives
* Technicity of web archives
* Software histories
* Archived audiences and histories of internet use
* Identity, intersectionality and web history
* Digital activism and web history
* Histories of net criticism
* Media industries and their online histories
* Web histories elsewhere: forgotten and marginalized web cultures
* Realtime, time travel and other web temporalities
* Future histories and the archive of tomorrow

*** Submissions ***

Submissions are welcomed from all fields and disciplines, and we would
particularly encourage postgraduate students and early career researchers
to participate.

* Individual papers of 20 minutes length (750-word abstract and a short
author bio of 100-150 words).
* Panel sessions consisting of three individual papers, introduced by a
chair (750-word abstract for each paper, a brief description of 300 words
of the purpose of the panel, and a short author bio of 100-150 words for
each speaker).
* Posters, demonstrations, and audio/video/interactive installations (short
abstract of no more than 300 words, a list of A/V or other requirements,
and a short author bio of 100-150 words)
* Workshops (a 500-word rationale for the workshop, including discussion of
why the topic lends itself to a workshop format, and a short author bio of
100-150 words for the workshop organiser(s)).

Deadline for submission is 19 October 2018.

Acceptance will be on the basis of double-blind peer review.

*** Timetable ***

May 2018 - dates out
June 2018 - first call for papers
July 2018 - second call for papers
August 2018 - third call for papers
September 2018 - final call for papers and submissions open
19 October 2018 - submission of abstracts
December 2018 - notification of acceptance
19-21 June 2019 - conference

***

Re: [NetBehaviour] Unlocking Proprietorial Systems for Artistic Practice | By Marc Garrett.

[marc.garrett via NetBehaviour]

Hi Edward,

Thanks for your response, and I'm glad you took the time to read it.

>Nice article! I was particularly interested in the “Do-It-Yourself Pancreas
>System” (DIYPS) and the open source, artificial pancreas system movement
>(OpenAPS), which I hadn't come across before.

Yes, it's a good example, that contrasts to the typical top-down versions.

Wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

Sent with [ProtonMail](https://protonmail.com) Secure Email.

‐‐‐ Original Message ‐‐‐
On 6 July 2018 9:48 PM, Edward Picot via NetBehaviour 
 wrote:

> Nice article! I was particularly interested in the “Do-It-Yourself Pancreas 
> System” (DIYPS) and the open source, artificial pancreas system movement 
> (OpenAPS), which I hadn't come across before.
>
> Edward
>
> On 06/07/18 12:17, marc.garrett via NetBehaviour wrote:
>
>> Unlocking Proprietorial Systems for Artistic Practice | By Marc Garrett.
>>
>> "Proprietorial domination is the presumption of ownership not only over our 
>> psychic states of existence but also through the material objects we possess 
>> and use daily, and this extends into and through our use of digital networks 
>> every day."
>>
>> http://www.aprja.net/unlocking-proprietorial-systems-for-artistic-practice/
>>
>> Part of RESEARCH VALUES | A Peer-Reviewed Journal About Research Values | 
>> VOLUME 7, ISSUE 1, 2018 | Edited by Christian Ulrik Andersen & Geoff Cox - 
>> http://www.aprja.net/research-values/
>>
>> Marc Garrett
>>
>> Co-Founder, Co-Director and main editor of Furtherfield.
>> Art, technology and social change, since 1996
>> http://www.furtherfield.org
>>
>> Furtherfield Gallery & Commons in the park
>> Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
>> Currently writing a PhD at Birkbeck University, London
>> https://birkbeck.academia.edu/MarcGarrett
>> Just published: Artists Re:thinking the Blockchain
>> Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
>> Liverpool Press - http://bit.ly/2x8XlMK
>>
>> Latest post: Unlocking Proprietorial Art Systems interview:
>> with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
>> https://bit.ly/2HQM1bs
>>
>> Sent with [ProtonMail](https://protonmail.com) Secure Email.
>>
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>>
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour___
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[NetBehaviour] Unlocking Proprietorial Systems for Artistic Practice | By Marc Garrett.

[marc.garrett via NetBehaviour]

Unlocking Proprietorial Systems for Artistic Practice | By Marc Garrett.

"Proprietorial domination is the presumption of ownership not only over our 
psychic states of existence but also through the material objects we possess 
and use daily, and this extends into and through our use of digital networks 
every day."

http://www.aprja.net/unlocking-proprietorial-systems-for-artistic-practice/

Part of RESEARCH VALUES | A Peer-Reviewed Journal About Research Values | 
VOLUME 7, ISSUE 1, 2018 | Edited by Christian Ulrik Andersen & Geoff Cox - 
http://www.aprja.net/research-values/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

Sent with [ProtonMail](https://protonmail.com) Secure Email.___
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[NetBehaviour] A Peer-Reviewed Journal About Research Values

[marc.garrett via NetBehaviour]

RESEARCH VALUES

http://www.aprja.net/research-values/

There is value and there are values. There is the measure of wealth, metrified 
and calculated in numerous ways, and there are ideas, ethics, preferences of 
taste, and customs of ideology. [...] But what really happens when the two are 
conflated? And, in what ways are the conflations of value and values tied to 
the circulation of value and values in contemporary technical infrastructures? 
[...] The articles published in A Peer-Reviewed Journal About Research Values 
interrogate value and values in ways that respond to techno-cultural shifts and 
embrace the range of economies that pervade digital culture.

VOLUME 7, ISSUE 1, 2018
Edited by Christian Ulrik Andersen & Geoff Cox
ISSN 2245-7755
Published by Aarhus University & transmediale

Contributions by César Escudero Andaluz, Mitra Azar, Calum Bowden, Tega Brain, 
Maria Eriksson, Marc Garrett, Francis Hunger, Lea Laura Michelsen, Luke Munn, 
Dionysia Mylonaki, Martín Nadal, Konstanze Scheidt, Pip Thornton, Panagiotis 
Tigas, Ashley Lee Wong.
http://www.aprja.net/research-values/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

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[NetBehaviour] Editorial - Border Disruptions: Playbour & Transnationalisms

[marc.garrett via NetBehaviour]

Border Disruptions: Playbour & Transnationalisms

Marc Garrett interviews, Dani Admiss, Cassie Thornton, and Tatiana Bazzichelli.

Part of the exhibition 'Playbour – Work, Pleasure, Survival curated by Dani 
Admiss, and Transnationalisms exhibition curated by James Bridle.

Our times are characterized by the accelerating collapse and redrawing of 
multiple borders: between nation states, personal identities, and the 
responsibilities we have for each other. Also between the old distinctions, 
work and pleasure.

"Some leaders as part of the new world order, tell us through their political 
actions and their fashion accessories, that they “Just Don’t Care”. This 
“political art-form” of not caring permits an insidious spread of hatred online 
and on the ground."

In the face of these outlandish difficulties our digital tools and networks – 
taken up with a spirit of cultural comradeship. More inspiring narratives are 
emerging from across disciplines and backgrounds, to experiment with new 
solidarity-generating approaches that critique and build platforms, 
infrastructures and networks, offering new possibilities for reassessing and 
re-forming citizenship and rights.

The editorial - 
https://www.furtherfield.org/editorial-border-disruptions-playbour-transnationalisms/

The upcoming show 'Playbour – Work, Pleasure, Survival'
https://www.furtherfield.org/events/playbour-work-pleasure-survival/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

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[NetBehaviour] Review of the HATE NEWS CONFERENCE by Disruption Network Lab

[marc.garrett via NetBehaviour]

Review of the HATE NEWS CONFERENCE by Disruption Network Lab

Review by Lorin Decarli.

On the day of the General Data Protection Law (GDPR) going into effect in 
Europe, on the 25th May, the Disruption Network Lab opened its 13th conference 
in Berlin entitled “HATE NEWS: Manipulators, Trolls & Influencers”.

The two-day-event looked into the consequences of online opinion manipulation 
and strategic hate speech. It investigated the technological responses to these 
phenomena in the context of the battle for civil rights.

https://www.furtherfield.org/review-of-the-hate-news-conference/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

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Re: [NetBehaviour] Regina Celia Pinto/The Museum of the Essential (and Beyond That)/The Library of Marvels

[marc.garrett via NetBehaviour]

Hi Stephanie,

Brilliant news indeed. Look forward to using it as a resource in the near 
future...

Wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

Sent with [ProtonMail](https://protonmail.com) Secure Email.

‐‐‐ Original Message ‐‐‐
On 30 June 2018 12:09 PM, Stephanie Strickland 
 wrote:

> Helen, can you let the list know that ELO (Electronic Lit Org) stepped in to
> save Turbulence and has reached out to Regina to do the Museum and Library
> of Marvels as well.We just got a Mellon grant for archiving purposes.
> Thank you so much,
>
> Stephanie
>
> Stephanie Strickland
>
> 1175 York Avenue 16B
> New York NY 10065
> 212-759-5175http://stephaniestrickland.com
> "Raw Data Is an Oxymoron"
>
> On Sat, Jun 30, 2018 at 5:58 AM, helen varley jamieson 
>  wrote:
>
>> great! :)
>>
>> On 30.06.2018 11:21, j...@xxn.org.uk wrote:
>>
>>> they nboth on wayback
>>>
>>> On Sat, June 30, 2018 10:16, ruth catlow wrote:
>>>
 Let's ask them!
 Gonna give it a go.

 On 29/06/18 22:48, Ricardo Ruiz via NetBehaviour wrote:

> It must be archived somewhere. Turbulence.org maybe?
> Does internet archive still have a chapter for old websites?
>
>> Em 29 de jun de 2018, Ã (s) 16:55, helen varley jamieson
>> [](mailto:he...@creative-catalyst.com)
>> escreveu:
>>
>> that is sad news indeed :( is there nowhere that it can be archived?
>> (regina - are you still on this list?)
>> h : /
>>
>> On 29.06.2018 21:30, Edward Picot via NetBehaviour wrote:
>>
>>> I just had the following message from Regina Celia Pinto: "After
>>> July, The Museum of The Essential and Beyond That and The Library
>>> of Marvels will closed because I am not working on them and because
>>> the cost to keep them on line will be very expensive after July."
>>>
>>> If you've never visited them it might be worth having a look before
>>> they disappear. The Museum of the Essential is at
>>> http://www.arteonline.arq.br/
>>> and The Library of Marvels is a
>>> subsection of it, at
>>> [http://arteonline.arq.br/
>>>
>>> library.htm](http://arteonline.arq.br/library.htm)
>>> . There's
>>> probably too much on there to take in all at once, but if you've
>>> got time to browse around a bit and pay a few return visits, they
>>> contain a jaw-dropping array of work. Back in the early 2000s
>>> Regina was very active on the now-moribund WebArtery list: she was
>>> a tireless and selfless promoter of other people's work, and a
>>> considerable artist in her own right, as she still is.
>>>
>>> It'll be sad to lose these sites.
>>>
>>> Edward
>>>
>>> __
>>>
>>> _
>>> NetBehaviour mailing list
>>> [NetBehaviour@lists.
>>>
>>> netbehaviour.org](mailto:NetBehaviour@lists.netbehaviour.org)
>>>
>>> [https://lists.netbehaviour.
>>>
>>> org/mailman/listinfo/
>>>
>>> netbehaviour](https://lists.netbehaviour.org/mailman/listinfo/netbehaviour)
>>
>> --
>> helen varley jamieson
>>
>> Magdalena München Saison 2018
>>
>> 
>> he...@creative-catalyst.com
>>
>> [http://www.creative-catalyst.
>>
>> com](http://www.creative-catalyst.com)
>>
>> http://www.upstage.org.nz
>> __
>>
>> _
>> NetBehaviour mailing list
>> [NetBehaviour@lists.
>>
>> netbehaviour.org](mailto:NetBehaviour@lists.netbehaviour.org)
>>
>> [https://lists.netbehaviour.
>>
>> org/mailman/listinfo/
>>
>> netbehaviour](https://lists.netbehaviour.org/mailman/listinfo/netbehaviour)
>
> __
>
> _
> NetBehaviour mailing list
> [NetBehaviour@lists.
>
> netbehaviour.org](mailto:NetBehaviour@lists.netbehaviour.org)
>
> [https://lists.netbehaviour.
>
> org/mailman/listinfo/
>
> netbehaviour](https://lists.netbehaviour.org/mailman/listinfo/netbehaviour)

 --
 Co-founder Co-director
 Furtherfield
 www.furtherfield.org
 +44 (0) 77370 02879

 Bitcoin Address 1G7SPFpvHhVEqn5trpNEcyNWbDcyZX

 uAnh

 Furtherfield is the UK's leading organisation for art shows, labs, &
>

[NetBehaviour] Exhibition @furtherfield | Playbour: Work, Pleasure, Survival

[marc.garrett via NetBehaviour]

Exhibition | Playbour: Work, Pleasure, Survival

What would it mean to value trees like we value human labour? Would you like to 
monetize your social relations?
Learn from hostile designs? Take part in (unwitting) data extractions in 
exchange for public services?

Examining the way that the boundaries between ‘play’ and ‘labour’ have become 
increasingly blurred, this summer, Playbour - Work, Pleasure, Survival, will 
transform Furtherfieldld into an immersive environment comprising a series of 
games. Visitors are asked to become "players" and test the operations of the 
real-world, and, in the process, experience how forms of play and labour feed 
mechanisms of work, pleasure, and survival.

Each game in Furtherfield simulates an experience of how techniques of 
gamification, automation, and surveillance, are applied to the everyday in 
order to capture all forms of existence.

Presenting new artworks by Marija Bozinovska Jones, Maz Hemming, Robert 
Gallager, Michael Straeubig, Cassie Thornton, Arjun Harrison-Mann, and more. 
Curated By Dani Admiss.

https://www.furtherfield.org/events/playbour-work-pleasure-survival/

Join us for the private view 13 July 6-8pm
With a special performance #TheGroupLimb by Steven Levon Ounanian
Check out the show 14 July- 19 Aug at Furtherfield.
Check out more @playbour - Twitter
Open Saturdays & Sundasy, 11:00 – 17:00 or by appointment | Admission Free

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

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[NetBehaviour] Power, Politics, Art & Activism: The Shifting Identities of Janez Janša

[marc.garrett via NetBehaviour]

Power, Politics, Art & Activism: The Shifting Identities of Janez Janša.

Mark Hancock discusses the politics & artistry of Janez Janša’s identity 
interventions in the context of their recent challenge at the Parliamentary 
Elections in Slovenia, in June 3rd 2018 .

"Ideas firmly deduced, tested against all variables and tentatively sent out 
into the world for appraisal by others, soon betray us as they bend to the 
whims of anyone they encounter. But that’s the nature of the malleable, 
post-digital world we live in. Ideas have to adapt and change to suit the warp 
and weft of the society if they are to survive in some form. How do we lock 
down our ideas into their final form? And what level of commitment can we 
expect from our ideas even if we apply intellectual property rights and that 
centuries-old mark of authenticity, the signature? The art world is 
particularly vulnerable to the conceit of signed authenticity. A signature 
often being the only guarantee that you’ll see any return (financial, 
reputational or otherwise) on your investment. If you really want to play with 
systems of power and bureaucracy, try altering artist names."

https://www.furtherfield.org/power-politics-art-and-activism-the-shifting-identities-of-janez-jansa/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

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[NetBehaviour] Island Mentality: report on recent workshop 'What Will It Be Like When We Buy An Island (on the blockchain)?'

[marc.garrett via NetBehaviour]

Island Mentality: report on recent workshop  'What Will It Be Like When We Buy 
An Island (on the blockchain)?'

By Alice Bucknell on Rhizome.org
Jun 14, 2018

This report about Ed Fornieles’ recent workshop  What Will It Be Like When We 
Buy An Island (on the blockchain)? is published in partnership with DAOWO, a 
series that brings together artists, musicians, technologists, engineers, and 
theorists to consider how blockchains might be used to enable a critical, 
sustainable and empowered culture. The series is organized by Ruth Catlow and 
Ben Vickers in collaboration with the Goethe-Institut London and the State 
Machines programme. Its title is inspired by a paper by artist, hacker and 
writer Rob Myers called DAOWO – Decentralised Autonomous Organisation With 
Others.

A few years ago, when British artist Ed Fornieles began researching the social 
dynamics of the blockchain and cryptocurrency, this sort of scene was an 
ecstatic fantasy conjured up by what’s generally perceived as the delirious 
imagination of the rich and bored; of opportunistic Silicon Valley 
entrepreneurs and a pack of wily investors on the hunt for the next lucrative 
buzz.  “Now it’s become our present reality, and it’s not so funny,” says 
Fornieles of the burgeoning crypto society. We’re gathered in the 
Goethe-Institut London on a drizzling afternoon in March, and Fornieles, 
embodying the role of a digital coach and dramaturge, is introducing the 
concept of live action role play, LARPing for short,to a motley group of around 
two dozen participants including students, artists, techies, architects, 
and–unbeknownst to all–IRL Seasteaders in disguise.

Convened in collaboration with Ruth Catlow, co-founder of online research 
platform and gallery Furtherfield and Ben Vickers, CTO of the Serpentine 
Galleries, the workshop, titled What Will It Be Like When We Buy An Island (on 
the blockchain)?, is the fifth installment of DAOWO (Decentralized Autonomous 
Organization With Others): a series bringing together artists, writers, 
curators, technologists, and engineers to investigate the production of new 
blockchain technologies and their socio-political implications. It’s also an 
effort “explore the hazards of formalizing the idea of ‘doing good on the 
blockchain’,” according to Fornieles.

http://rhizome.org/editorial/2018/jun/14/island-mentality/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

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[NetBehaviour] An interview with Ruth Catlow & Marc Garrett @furtherfield last year with Sluice Magazine

[marc.garrett via NetBehaviour]

An interview with [Ruth 
Catlow](https://www.facebook.com/ruth.catlow.9?fref=mentions) & [Marc 
Garrett](https://www.facebook.com/marc.furtherfield?fref=mentions) 
@furtherfield last year with Sluice Magazine - 
[http://www.sluice.info/articles/further](https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.sluice.info%2Farticles%2Ffurther&h=ATPKu4W9byJPgzCkmbYUD-hMsDeO6IS19BeCoqJc-pmcRdHlFV9HPRjLt0I0qqaQXVD_5Zmf0sYheYzFShif-Fez3GkKyi7AlvNT4yVexU6-Yamn6Wbago1DPFg)

"We don't work in absolutes, we're a living assemblage where you’ve got people 
on various platforms, reviewing art and activism and technology, you've got a 
physical space here at furtherfield commons, which encompasses workshops and 
you’ve got the gallery space which the art world recognizes because they 
recognize the word gallery or the word art. But actually, it is an infiltration 
- we're trying to expand what art is rather than close it down."

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

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Re: [NetBehaviour] LABxS 2018 Residency Program (Brazil)

[marc.garrett via NetBehaviour]

Hi Ricardo,

Yes, I agree.

I remember going there about 8 or 9 years ago now, it was a fabulous 
experience, and great people doing great things :-)

Wishing you well.

marc

> Thanks Marc,
> 
> This call is to work with some really good friends in the south of the 
> country. I would recommend everyone with some time to spend in Brazil to 
> submit a proposal
> 
> Best from here,
> 
> > Em 5 de jun de 2018, à(s) 10:27, marc.garrett via NetBehaviour 
> > netbehaviour@lists.netbehaviour.org escreveu:
> > 
> > LABxS 2018 Residency Program
> > 
> > Arts, communities and aesthetics of the commons
> > 
> > OPEN CALL FOR SHORT TERM RESIDENCIES: ARTS, COMMUNITIES AND AESTHETICS OF 
> > THE COMMONS
> > 
> > LABORATÓRIO SANTISTA announces an open call to select artists, researchers, 
> > creators and inventors for short term artistic residencies hosted at its 
> > headquarters.
> > 
> > http://labsantista.procomum.org/labxs-2018-residency-program/
> > 
> > WHO CAN PARTICIPATE?
> > 
> > Artists; researchers; creators; inventors; people interested in being part 
> > of a collaborative process of learning, unlearning, and creation, as well 
> > as in exchanging knowledge and opening up to creative experimentations with 
> > art and life.
> > 
> > The open call is directed towards both Brazilians and non-Brazilians with a 
> > special focus on people who identify as belonging to the Global South. The 
> > term South is not understood here as strictly geographical, therefore there 
> > are no restrictions as to country of origin. In this open call we 
> > understand South as a cultural, geopolitical, and identity based 
> > recognition of voices, territories, and bodies who have been historically 
> > silenced, explored, oppressed, colonized and/or subjugated.
> > 
> > If you’re a collective or a duo, please make this evident in your 
> > application and we will search for a way to welcome you, even if funds are 
> > available to host only one member of your group. The residencies will take 
> > place between July and November 2018 and may last a minimum of 10 and 
> > maximum of 30 days. We have a total of six openings for this edition.
> > 
> > WHAT ARE THE ACCOMODATIONS?
> > 
> > The accommodations are in individual 97-square-foot rooms equipped with 
> > pull out beds or bunk beds, a closet, workspace, wireless internet, and a 
> > ceiling fan. The rooms are inside LABxS (Laboratório Santista), a 
> > 1,500-square-foot cultural venue located at Santos’ Downtown area (Rua Sete 
> > de Setembro, 52, Vila Nova, Santos, São Paulo). Bathrooms are located in 
> > the same floor as the rooms, few steps away from the entrance door; the 
> > space also has a fully equipped kitchen with a refrigerator and gas range, 
> > where residents can cook and eat.
> > 
> > The floor where the residencies take place is shared between the residents 
> > and the management teams of both LABxS (Lab Santista) and Instituto 
> > Procomum and have partially controlled access. For the time being, there is 
> > no accessibility for wheelchair users, only stairs. If you have special 
> > needs, we will do whatever possible to adapt and tend to them. Please 
> > include this in your application.
> > 
> > WHAT WILL LAB SANTISTA OFFER TO SELECTED APPLICANTS?
> > 
> > Funds for round trip travel;
> > Daily spending money: BRL 90.00;
> > Funds for production and materials: up to BRL 500.00;
> > Stipend for residents: total of BRL 1,000.00;
> > Assistance with travel logistics and temporary housing;
> > A shared work and creation space, equipped with power, internet 
> > connection, tables and chairs;
> > Access to Laboratório Santista’s (LABxS) entire infrastructure: locker 
> > rooms, an urban permaculture lab, a kitchen, a multipurpose room, a 
> > classroom, housing, storage, a recreational area, and everything else still 
> > to be invented;
> > Opportunity to develop a social-artistic project in the Baixada 
> > Santista area;
> > Languages: Portuguese, English, and Spanish.
> > 
> > 
> > WHAT SHOULD SELECTED APPLICANTS OFFER IN RETURN?
> > 
> > Involvement with the processes and dynamics of Lab Santista’s space, 
> > its network of  people and initiatives, and the territory surrounding it 
> > (residents of Bacia do Mercado – the Market Wharf –, in the downtown area 
> > of Santos);
> > Develop a dynamic of shared upkeep of the space, ensuring that its 
> > maintenance is everyon

[NetBehaviour] LABxS 2018 Residency Program (Brazil)

[marc.garrett via NetBehaviour]

LABxS 2018 Residency Program
Arts, communities and aesthetics of the commons

OPEN CALL FOR SHORT TERM RESIDENCIES: ARTS, COMMUNITIES AND AESTHETICS OF THE 
COMMONS

LABORATÓRIO SANTISTA announces an open call to select artists, researchers, 
creators and inventors for short term artistic residencies hosted at its 
headquarters.

http://labsantista.procomum.org/labxs-2018-residency-program/

WHO CAN PARTICIPATE?

Artists; researchers; creators; inventors; people interested in being part of a 
collaborative process of learning, unlearning, and creation, as well as in 
exchanging knowledge and opening up to creative experimentations with art and 
life.

The open call is directed towards both Brazilians and non-Brazilians with a 
special focus on people who identify as belonging to the Global South. The term 
South is not understood here as strictly geographical, therefore there are no 
restrictions as to country of origin. In this open call we understand South as 
a cultural, geopolitical, and identity based recognition of voices, 
territories, and bodies who have been historically silenced, explored, 
oppressed, colonized and/or subjugated.

If you’re a collective or a duo, please make this evident in your application 
and we will search for a way to welcome you, even if funds are available to 
host only one member of your group. The residencies will take place between 
July and November 2018 and may last a minimum of 10 and maximum of 30 days. We 
have a total of six openings for this edition.
WHAT ARE THE ACCOMODATIONS?

The accommodations are in individual 97-square-foot rooms equipped with pull 
out beds or bunk beds, a closet, workspace, wireless internet, and a ceiling 
fan. The rooms are inside LABxS (Laboratório Santista), a 1,500-square-foot 
cultural venue located at Santos’ Downtown area (Rua Sete de Setembro, 52, Vila 
Nova, Santos, São Paulo). Bathrooms are located in the same floor as the rooms, 
few steps away from the entrance door; the space also has a fully equipped 
kitchen with a refrigerator and gas range, where residents can cook and eat.

The floor where the residencies take place is shared between the residents and 
the management teams of both LABxS (Lab Santista) and Instituto Procomum and 
have partially controlled access. For the time being, there is no accessibility 
for wheelchair users, only stairs. If you have special needs, we will do 
whatever possible to adapt and tend to them. Please include this in your 
application.
WHAT WILL LAB SANTISTA OFFER TO SELECTED APPLICANTS?

Funds for round trip travel;
Daily spending money: BRL 90.00;
Funds for production and materials: up to BRL 500.00;
Stipend for residents: total of BRL 1,000.00;
Assistance with travel logistics and temporary housing;
A shared work and creation space, equipped with power, internet connection, 
tables and chairs;
Access to Laboratório Santista’s (LABxS) entire infrastructure: locker 
rooms, an urban permaculture lab, a kitchen, a multipurpose room, a classroom, 
housing, storage, a recreational area, and everything else still to be invented;
Opportunity to develop a social-artistic project in the Baixada Santista 
area;
Languages: Portuguese, English, and Spanish.

WHAT SHOULD SELECTED APPLICANTS OFFER IN RETURN?

Involvement with the processes and dynamics of Lab Santista’s space, its 
network of  people and initiatives, and the territory surrounding it (residents 
of Bacia do Mercado – the Market Wharf –, in the downtown area of Santos);
Develop a dynamic of shared upkeep of the space, ensuring that its 
maintenance is everyone’s responsibility;
Document the processes, so they can be shared;
Carry out at least one conversation circle and/or workshop for the 
community, LABxS and its neighbors.

WHAT ARE THE FIELDS ADDRESSED BY THIS RESIDENCY PROGRAM? – PLEASE UNDERSTAND 
THE TOPICS BELOW AS KEYWORDS

The commons in all of its expressions: aesthetic, cultural, social, 
political, and economic;
Art and expanded education (collaborative methodologies of creation and 
development, research and exchange of knowledge; pedagogies for autonomy);
Ancestrality, memory, and popular culture;
Art and open technology;
Community based art;
Activation of public spaces and the relationship between art and territory;
New gender perspectives;
Decolonial and antiracist practices;
Practices and dialogues on care and self-care;
Alternative cultural production and management, and curatorial studies.

HOW WILL THE APPLICANTS BE SELECTED?

The selection will be carried out by the managing team of Instituto Procomum – 
IP and will include an interview with preselected candidates.

Please note that all Instituto Procomum’s projects are founded on the premise 
of strengthening the actions and creations of women (plural form), people of 
African descent and other people belonging to what are conventionally referred 
to as underrepresented gro

[NetBehaviour] James Bridle: The Real Name Game. Video on Vimeo.

[marc.garrett via NetBehaviour]

James Bridle: The Real Name Game. Video on Vimeo.

New technologies are allowing new forms of identity and community to flourish 
and be recognised, from virtual citizenships to digital nations, and gender 
identities to non-human actors. At the same time, systems of power and 
governance attempt to corral and suppress identity within geographical borders 
and database schema. James Bridle explores the uses and abuses of identity in 
his own practice, and the work of others.

https://vimeo.com/268238658

---

Transnationalisms - Bodies, Borders, and Technology
aksioma.org/transnationalisms

Conference Curated by James Bridle

Kino Šiška, Ljubljana
April 24 - 25, 2018___
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[NetBehaviour] (DIWO) from the web to the blockchain

[marc.garrett via NetBehaviour]

(DIWO) from the web to the blockchain: Emancipatory decentralised network 
practices in arts and technology

28th April 2018, Ruth Catlow and Marc Garrett, co-founders and directors of 
Furtherfield gave a lecture and workshop as part of the State Machines 
programme, at the NeMe Gallery in Cyprus.

The lecture provided an an introduction to the work of Furtherfield, an artist 
run organisation for critical questions in art and technology that curates 
exhibitions, labs and debates in London. Garrett shared his autoethnographic 
research into unlocking proprietorial art systems through the lens of 
Furtherfield’s programmes and communities of practice. Catlow wrapped up the 
lecture with an introduction to artist-led blockchain critique since 2014 which 
was followed by a workshop called Artists Organise (on the blockchain).

More on the presentation/workshop at NeMe
http://www.neme.org/events/diwo-from-the-web-to-the-blockchain

More about State Machines program -- http://www.statemachines.eu/___
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[NetBehaviour] distributed intelligence on the fly?

[marc.garrett via NetBehaviour]

distributed intelligence on the fly?

on "Online En-semble - Entanglement Training" by Annie Abrahams reflecting on 
the performance made during 'Art of the Networked Practice Online Symposium - 
Third Space Network'

co-creating between/with each others and with/through machines, building a 
common space of shared practice and practicing it in a distributed manner. A 
distributed intelligence simultaneously activated between its agents 
(performers and active viewers - engaging on producing textual content).
to (re)think the network through these experiments towards the production of a 
collectiveness as we evolve to a futurity where regulations endanger the 
promises of distributed agency through this space.

Are we at the moment where these networked environments, these topographies of 
networked experience, are not just an option but a way to reflect on the 
changes that are happening?

https://aabrahams.wordpress.com/2018/05/13/distributed-intelligence-on-the-fly/___
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[NetBehaviour] Final Digital Transformations Workshops @furtherfied Commons 23 May 2018

[marc.garrett via NetBehaviour]

Science in Culture | All Welcome

How can art engage with science and technology?
And how can art explore the role of science in culture?

23 May 2018, 10:30 – 16:00

Final free workshop on Wed 23 May in Finsbury Park @furtherfield Commons.
https://www.furtherfield.org/events/digital-transformations-workshops/

Inspired by and building on the exhibition , Poetry for Animals, Machines & 
Aliens: The Art of Eduardo Kac at Furtherfield Gallery. https://bit.ly/2ur2LD4 
- these workshops will draw together themes and issues which have emerged from 
the Arts and Humanities Research Council thematic research programmes.

Workshops are led by Andrew Prescott, curator of the exhibition and Professor 
of Digital Humanities at the University of Glasgow.

FREE | booking essential - https://bit.ly/2k9xiNI___
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[NetBehaviour] The Revenge against the Commons

[marc.garrett via NetBehaviour]

The Revenge against the Commons of the zad or Why France’s biggest police 
operation since May 68 is prepared to kill for Macron’s Neoliberal Nightmare. 
https://bit.ly/2rKNSad

This is a long read by one of the inhabitants of the Zad, about the the 
fortnight rollercoaster of rural riots that has just taken place to evict the 
liberated territory of the zad. It’s been incredibly intense and hard to find a 
moment to write, but we did our best.

This is simply one viewpoint, there are over 1000 people on the zone at the 
moment and every one of them could tell a different story. Thank you for all 
the friends and comrades who helped by sharing their stories, rebel spirits and 
lemon juice against the tear gas. By John Jordan.___
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[NetBehaviour] Radio Web MACBA | New deleted scenes with Nina Power

[marc.garrett via NetBehaviour]

Radio Web MACBA | New deleted scenes with Nina Power

New deleted scenes with Nina Power: We dig up some unreleased fragments of the 
interview with Nina Power that we were unable to include the first time around.

Link: https://rwm.macba.cat/en/extra/nina-power-deleted/capsula

Nina Power is a philosopher, teacher, writer, and activist. Her critical 
thought spreads through a porous web of practices and experiences linked to 
philosophy, feminism, art, politics, film, new technologies and labour 
relations. In our main feature, Nina Power shared her thoughts on the 
ideological power of language, on systems of state violence, surveillance and 
control, and on the need to reverse the savage logic of neoliberalism through 
strategies such as commoning and her own notion of “decapitalism”. With these 
new deleted scenes, we dig up now some unpublished bits of our conversation.

This podcast is part of Re-Imagine Europe, co-funded by the Creative Europe 
programme of the European Union.

Deleted scenes timeline
00:00 360º total life-style branding
01:16 The keepers of language vs Internet and the proliferation of neologisms

E/N/J/O/Y

E/N/J/O/Y

E/N/J/O/Y___
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[NetBehaviour] Furtherfield Editorial – Platforming Finsbury Park.

[marc.garrett via NetBehaviour]

Sorry for any cross posting...

Furtherfield Editorial – Platforming Finsbury Park.

This time it's public! What will it take for us to regain trust in social 
spaces online? We think public spaces have a role to play. Let's transform the 
park into a public platform for cultural adventure, art you can play with, 
social invention and reflection. By Ruth Catlow and Marc Garrett.

"As Manuel Castells famously put it ‘The flows of power generate the power of 
flows, whose material reality imposes itself as a natural phenomenon that 
cannot be controlled or predicted… People live in places, power rules through 
flows’. And in network society these flows often have the power to wash clean 
away communities’ ties, extracting value and flowing it to the private 
interests of absent and distant persons and bodies."

https://bit.ly/2roeA85

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

Sent with [ProtonMail](https://protonmail.com) Secure Email.___
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[NetBehaviour] Furtherfield Editorial – Platforming Finsbury Park.

[marc.garrett via NetBehaviour]

Furtherfield Editorial – Platforming Finsbury Park.

This time it's public! What will it take for us to regain trust in social 
spaces online? We think public spaces have a role to play. Let's transform the 
park into a public platform for cultural adventure, art you can play with, 
social invention and reflection. By Ruth Catlow and Marc Garrett.

"As Manuel Castells famously put it ‘The flows of power generate the power of 
flows, whose material reality imposes itself as a natural phenomenon that 
cannot be controlled or predicted… People live in places, power rules through 
flows’. And in network society these flows often have the power to wash clean 
away communities’ ties, extracting value and flowing it to the private 
interests of absent and distant persons and bodies."

https://bit.ly/2roeA85

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Latest post: Unlocking Proprietorial Art Systems interview:
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams
https://bit.ly/2HQM1bs

Sent with [ProtonMail](https://protonmail.com) Secure Email.___
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[NetBehaviour] Birkbeck (UK, London) Moving Image Artist Master Classes

[marc.garrett via NetBehaviour]

Moving Image Artist Master Classes

This Friday is Miranda Pennell 3pm at Birkbeck followed by Louis Henderson on 
the 25th, Erin Espelie on the 15th of June  and Duncan Campbell on the 29th of 
June.

The details are here; don't let the CHASE funding put them off, all are welcome 
to register:

http://www.chase.ac.uk/thought-and-image/

[https://static1.squarespace.com/static/53fc53c9e4b01fd3d3de876a/t/5acc82e91ae6cf686a2bf967/1523352298923/Though+and+Image.jpg]

Thought and Image: Processes of Reciprocity — CHASE DTP 
...
www.chase.ac.uk
Miranda Pennell’s moving-image work uses archival materials as the starting 
point for a reflection on the colonial imaginary. Why Colonel Bunny Was Killed 
(2010) examines British image-making in the Afghan borderlands at the turn of 
the 20th century.___
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[NetBehaviour] Piet Zwart Institute Experimental Publishing (XPUB)

[marc.garrett via NetBehaviour]

Piet Zwart Institute Experimental Publishing (XPUB)

///

Calling all celebrities mediating free food, individuals faking
bootleg spam, makers provoking bottom-up billboards, doctors seeing
offline LaserDiscs, media debating multi-authoritarian memes,
computers disrupting open newspapers, regulators performing
transparent synthesizers, politicians disclosing command line
operating systems, men questioning organic futures, livecoders
portraying vertical HTML pages, presidents divulging crypto
woodblocks, leechers seeding omni-capitalist maps, adults scanning
pre-horizontal advertising, robots destroying cyber-granular dances,
publics developing inter-blockchain codes of conduct, governments
bragging about distributed feeds, CEOs sending deep leaflets, boys
vandalizing proto-liberal ethics, women demanding anarcho-syndicalist
viruses, architects screaming infra-industrial theatre.

///

Applications Deadline: May 15 2018
https://xpub.nl

///

a.
--
https://bleu255.com/~aymeric
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[NetBehaviour] The New Metropolis: The Neoliberal/vectoral Carrots, labor and education.

[marc.garrett via NetBehaviour]

Hi all,

I'm stealing this text which was recently posted on the Nettime email list by 
Patrick Lichty. And I thought, why should they get the more detailed posts?

I know Patrick will forgive me ;-)

Wishing all well. Marc

The New Metropolis: The Neoliberal/vectoral Carrots, labor and education. By 
Patrick Lichty...

I’ve been sitting down here from my science fiction scenario perch in the 
Middle East, and see the following in my old home, the US, but see echoes in 
Europe as well. There is a cultural scaffold unfolding regarding education, 
labour, and capital that concerns me greatly, and most of the commentary I see 
is amazingly short term,a nd I would like to connect some dots for a longer 
term scenario.

Regarding education, I have seen devaluation of academic labor and revaluation 
of relatively unskilled labour.  This week, there was furor about University of 
Illinois Carbondale recruiting “volunteer” adjuncts to teach seminars, single 
classes for up to three years for Free. According to the Chancellor’s office, 
my understanding was that this was a chance to get teaching experience before 
becoming PAID adjuncts.  Being that getting a PhD often entails many tens of 
thousands of dollars to get to the point of being a graduate, the idea of 
allowing “free” adjunct labour is especially repugnant when these should be 
paid teaching assistantshipsor junior adjunct positions. In no way should this 
sort of arrangement be tolerated – as it reminds me of the common idea given to 
artists of gratis “exposure”

Exploitative vectoral extraction of value is exactly what it looks like. Every 
time.

On the other side of the educational fence, news stories like the spurious Fox 
News report that put forth an invective about student being passed on, not 
studying, and if they engage, being indoctrinated with Left Wing values that go 
against the values that their parents had instilled them with (perhaps from Fox 
News…) Additionally, Gross and Marcus’ recent piece on NPR gives a strange 
mirror from the more progressive side – that higher-paying trades are begging 
while high schoolers are being sold questionable futures through a college 
education.

I see this as a tremendously fraught situation where an economic incentive is 
given to enter trades and not enter the university system, which might be a 
backhanded way for the working class (re: Fox News audience) to be enticed once 
again not to enter an environment that could run afoul of the ontological 
regime of neoliberalism.  While I am not against a good living for anyone, 
there was a time when higher education was about creating the citizen of a 
liberal society (as such, not in the pejorative political term), and not purely 
in the creation of Labor (i.e. “getting a job”).

Being that total U.S. student debt stands at 1.4 trillion Dollars (Dr. Evil 
pinky pointed to mouth), the shift from federal support to private loans while 
administrative costs has gotten much  higher is something to consider.  The 
cost of higher education in North America, and especially the USA, has become 
onerous, and driven students increasingly into the strictly utilitarian camp.

Meanwhile, in the workforce, these trades might be extant, but on the left 
hand, jobs are either being replaced by automation, AI, or offered at fast-food 
wages.

The issue here is forcing a workforce to retrain at increasingly higher cost 
while the necessity for retraining increases (with the onus of paying for 
retraining being largely on the worker), where even fast food jobs are being 
replaced by automation, and the concentration of wealth continues to increase 
at exponential rates.

Secondly, the notion of Basic Universal Income, I still hold to my argument 
with Stanley Aronowitz’ regarding his 1990’s book, The Jobless Future, in that 
a large percentage of individuals, given the chance to be independent of paid 
labour, that the gainfully unemployed will take to ideas of enlightened 
self-interest, where my experience in Eastern Ohio in the USA would be to 
engage in less than gainful activities, not be involved in healthy behavior, 
and so on.  But on the other hand, this is not that I am supporting work-fare 
programs either, as they are intrinsically demeaning as they place difficult 
work requirements for little money who need to be searching for better jobs 
with that time.

But on the other hand, what if BMI is merely a strategy for vectoral extraction 
for consumer spending from the public sector while concentrating that wealth in 
the hands of the automators until… … … the reserves of capital are gone.

This is, as I see it a scenario in at least the USA in 15-30 years.  At this 
time, I see an utter collapse of Western economic stability, shifting into 
Asian markets, or a huge redistribution of wealth, heralding an economic 
“Rebuilding of New Zion” after the reset of the Economic Mattix.

However, as Morpheus once said, “What is the matrix? Control.” Except in this 

[NetBehaviour] 2019 Bemis Center Curator-in-Residence Open Call

[marc.garrett via NetBehaviour]

2019 Bemis Center Curator-in-Residence Open Call

RESIDENCY SESSION: January–December, 2019

Deadline: June 1, 2018
Notifications to all applicants will be made via email on August 1, 2018.

Bemis Center for Contemporary Arts is now accepting applications from national 
and international curators for its Curator-in-Residence Program. Beginning 
January 2019, the successful candidate will participate in a one-year fully 
subsidized live/work residency as part of Bemis Center’s acclaimed 
Artist-in-Residence Program. S/he will originate and present three exhibitions 
and related public programs inclusive of local and national artists. The 
Curator-in-Residence will work alongside residency and curatorial staff and 
actively contribute to the overall vision of Bemis Center’s renowned exhibition 
program. As a residency, the Curator-in-Residence will have the space and 
freedom to work on research and curatorial projects independent of his/her 
exhibitions at Bemis.

Competitive applicants will possess a strong knowledge of international 
contemporary art and a genuine interest in researching and responding to 
cultural production in Omaha and the region. The Curator-in-Residence is part 
of the cultural fabric of the city, serving as a professional resource for 
local artists and arts professionals, and as an ambassador of Bemis Center in 
the community. S/he will be an integral member of Bemis Center’s 
Artist-in-Residence Program, stimulating intellectual discourse surrounding 
contemporary art practice through studio visits, knowledge-sharing workshops, 
and other organized programs with fellow artists-in-residence.

Reporting to the Program Director, the Curator-in-Residence is a full-time 
temporary position that will work closely with the Exhibition Program team. 
S/he will be involved in all curatorial and administrative aspects of 
organizing three exhibitions over the one-year residency. Exhibitions should be 
original, conceptually rigorous, and exemplify the true breadth and 
experimentation currently defining contemporary art. The 2019 exhibition dates 
are: March 21–June 15, July 11–September 21, and November 21, 2019–February 15, 
2020.

Duties include, but are not limited to: research, artist and donor relations, 
exhibition design and installation, writing/editing of scholarly texts and 
didactics, budgeting, conceptualizing and leading exhibition-related public 
programs, and tours.

The Curator-in-Residence studio is for single occupancy only; Bemis Center is 
unable to accommodate partners, children, and pets at this time.

There is no fee to apply. Submission of applications is only accepted online at 
bemis.slideroom.com.

About Bemis Center for Contemporary Arts
Founded in 1981, by artists for artists, Bemis Center for Contemporary Arts 
supports today’s artists through an international artist-in-residence program, 
temporary exhibitions and commissions, and innovative public programs. Located 
in the historic Old Market district, Bemis Center serves a critical role in the 
presentation and understanding of contemporary art, bridging the community of 
Omaha to a global discourse surrounding cultural production today.

Eligibility
Residency opportunities are open to national and international arts 
professionals 21+ years of age, showing a strong professional working history.

Students enrolled in an academic program during the time of requested residency 
are not eligible to apply.

Bemis Center welcomes internationally based arts professionals to apply. A 
working knowledge of English is helpful for international artists, as an 
interpreter will not be provided. Upon notification of acceptance to the 
residency, the selected individual will be responsible for preparing and 
submitting the required personal employment visa materials by August 2018. A 
P-3 visa is recommended. Please visit the USCIS website for more information: 
www.uscis.gov. Bemis Center will provide appropriate documentation and 
materials to supplement the visa application process. Due to the current state 
of temporary, immigrant travel policies to the United States, we are unable to 
guarantee approval. A visa does not guarantee entry into the United States. As 
an international call, Bemis Center strives to support applicants from any 
country.

Bemis Center for Contemporary Arts is committed to a policy of 
nondiscrimination and equal opportunity for all persons regardless of race, 
sex, color, religion, creed, national origin or ancestry, age, marital status, 
sexual orientation, gender identity, gender expression, and disability. If you 
have questions about accessibility, please contact the Residency Program 
Manager, Holly Kranker, at 402.341.7130 x 12 or hol...@bemiscenter.org.

Qualifications

Master’s degree in curatorial or museum studies, art history, or related 
field; or five years equivalent professional work experience in the field;
A minimum of 1–2 years of curatorial experience in an academ

[NetBehaviour] Unlocking Proprietorial Art Systems interview: with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams

[marc.garrett via NetBehaviour]

Unlocking Proprietorial Art Systems interview: with Artists, Gretta Louw, 
Antonio Roberts & Annie Abrahams

In these interviews with artists, Gretta Louw, Antonio Roberts & Annie Abrahams 
I hoped to explore how their critical practices working with new media 
technologies differentiate themselves from other art world practices. How do 
they understand the relationship between art and freedom. What values do they 
explore in their work? https://bit.ly/2HQM1bs

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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[NetBehaviour] Review of 'across and beyond: A transmediale Reader on Post-digital Practices, Concepts, and Institutions'.

[marc.garrett via NetBehaviour]

Review of 'across and beyond: A transmediale Reader on Post-digital Practices, 
Concepts, and Institutions'.

A Furtherfield Review by Thomas Keating.

This transmediale reader, published in conjunction with the thirty-year 
anniversary of transmediale festival, covers the response of media art and 
theory to these changes, more specifically drawing on media activism, media 
archaeology, critical media processes, and (post-) anthropocentric 
perspectives, offering various and complementary strategies for engaging these 
provocative contemporary concerns.

Ryan Bishop, Kristoffer Gansing, Jussi Parikka & Elvia Wilk (eds.) Sternberg 
Press, 2017.

https://bit.ly/2qyvstw___
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[NetBehaviour] Last Day Open Call ⛓️ “Hack Child” ⛓️ LARP / RGP Berlin

[marc.garrett via NetBehaviour]

Via !Mediengruppe Bitnik

⚡️⚡️⚡️ HACK YOUR WAY INTO THE CRYPTO RAVE BLOCKCHAIN ⚡️⚡️⚡️

Join us for the “Hack Child” LARP RGP Berlin.

[👢] Live Action Role Play
⚠️ Real Game Play

Over the last few years we have seen an increased drive within the autonomous 
dance scene, collectively organising sub-raves via the blockchain, and using 
mining as an entry point via friend2friend networks. This ultimate shadow play 
tactic has created a tight knit community but we wish to expand the social 
novel, beyond our own cliques and networks.

So for one-night-only, this underground subculture will be opened up to those 
who wish to PLAY CRYPTO RAVE. On this occasion, we will launch the very first 
EP «Alexiety» specifically for _smart_ devices, electronically produced by Low 
Jack [1] & !Mediengruppe Bitnik.

[💊] Apply via email [📞] at omsksocialclub3...@gmail.com
with the word PLAY CRYPTO RAVE

[🚪] DEADLINE, TOMORROW 16TH APRIL
[👛] Number of places is limited

[🕳] The game will be held at an undisclosed location
[📡] in Berlin on 21:00h, 9th May 2018.

Points of contact Omsk Social Club [2] and !Mediengruppe Bitnik

Zen, Speed, Organic
3 lifestyle choices

<3 Mediengruppe Bitnik
https://ww.bitnik.org/

[1] Low Jack https://soundcloud.com/low-jack
[2] OMSK SOCIAL CLUB http://www.punkisdada.com/___
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[NetBehaviour] Workshops at Access Space this Spring (UK)

[marc.garrett via NetBehaviour]

Posting this on behalf of Jake from Access Space,

Workshops at Access Space this Spring

* Linux & Open Office for Non-Profits, Sat 21/04/18
* Weaving Basics - an introductory course + a loom, Sun 22/04/18
* AuduinoMAXX - build a mini synthesiser, Sat 28/4/18
* Practical Electronics for Artists – Intensive Day Course, Sat 12/05/18
* Digital Design & Laser Cutting for Artists - Intensive Day Course, Sat 
19/05/18

__

Linux & Open Office for Non-Profits
Saturday 21 April

Have you used Microsoft Windows or Mac since school?

Why do organisations struggling for income have to pay these big American 
corporations?
You may know there’s an alternative kind of free software called Linux. If 
you’re curious but uncertain how to try it, this workshop is for you.

It’s a gentle introduction; Linux for beginners.
How to do ordinary office tasks and more – without any geeky technical language.

9.30 coffee/registration. Workshop 10am-1pm.

Additional free help available in the afternoon after the workshop.

The workshop leader is Jonathan Cook, Access Space's Administration and 
Development Manager. He's an experienced administrator with qualifications in 
management accounting, adult education, social science and activism & social 
change.

Access Space has used Linux and Open Source software from the day it opened in 
the year 2000, and we do all our day-to-day work running the organisation using 
it.

Tickets £23.64
from 
https://www.eventbrite.co.uk/e/linux-open-office-for-non-profits-tickets-44198094691

Email j...@access-space.org for more info

www.access-space.org
_

Weaving Basics - an introductory course + a loom
Sunday 22nd April

£70 (includes all materials and a loom for you to take home)

On this intensive one day course you will be guided through setting up and 
using a small rigid heddle loom to create your own fabrics.

A rigid heddle loom is an effective way to learn how to weave and the skills 
and techniques you learn are all transferable to other types of looms.

The loom you will use on this course has been designed and made in our workshop 
by course leader Toni Buckby and is yours to take home. www.tonibuckby.com

Materials and additional equipment will be provided.
This course is suitable for all abilities.

Tickets available at 
https://www.eventbrite.co.uk/e/weaving-basics-an-introductory-course-a-loom-tickets-44221848740

Enquires: j...@access-space.org
Sunday 22nd April 1pm-6pm at Access Space, 3-7 Sidney St, Sheffield S1 4RG 
Tel:0114 2495522
Free tea, coffee & nibbles all day.

www.access-space.org
_

AuduinoMAXX - build a mini synthesiser
Saturday 28th April

Auduino = audio + Arduino

Build an AuduinoMAXX mini synth its own case, to take home, ready to perform 
music and noise!

Based on the open source granular synthesis Auduino project, the AuduinoMAXX 
has upgraded software and hardware that extend the sonic possibilities.

9/10 Octave Doctors agree!

The workshop leader is John Moseley, who runs Access Space's maker space Refab 
Space. He has a professional background in electronics and media production, 
with qualifications in electronics, information technology and teaching. He 
particularly enjoys making robots and electronic musical instruments.

@_Jo_Mo

This course is aimed at adults, but over 16s are welcome.

£50 (inc. all materials)
Tickets from 
https://www.eventbrite.co.uk/e/auduinomaxx-build-a-mini-synthesiser-tickets-44222152649

Please bring your own lunch or make use of some of the great cafes and pubs 
close by.

More info: j...@access-space.org

Saturday 28th April, 10am-5pm, Access Space, Unit 1 AVEC Bldg, 3-7 Sidney St, 
Sheffield S1 4RG  Tel:0114 2495522 (Tue-Fri)

www.access-space.org

_

Practical Electronics for Artists – Intensive Day Course

Saturday 12th May 10am-5pm

£36 (including materials)

On this small group workshop you will learn how electronic
components work and how to build circuits.

It is ideal for those wishing to get started or go on a refresher course.

During the course you will learn to:
* Identify electronic components and what they do.
* Read circuit diagrams and build working circuits
* Use a range of tools and practical soldering techniques

The workshop leader is John Moseley, who runs Access Space's maker space Refab 
Space. He has a professional background in electronics and media production, 
with qualifications in electronics, information technology and teaching. He 
particularly enjoys making robots and electronic musical instruments.

@_Jo_Mo

To help get you orientated in the world of electronics you will
build your own zombie robot that runs off dead batteries!

This course is aimed at adults, but over 16s are welcome.

Tickets: 
https://www.eventbrite.co.uk/e/practical-electronics-for-artists-intensive-day-course-tickets-44222312126

Re: [NetBehaviour] Fw: brutal job and course cuts where I work -please sign the petition

[marc.garrett via NetBehaviour]

Hi Michael,

I have signed it but will add comments tomorrow when I've got more time - they 
are utter scum.

wishing you & those losing their jobs well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with [ProtonMail](https://protonmail.com) Secure Email.

‐‐‐ Original Message ‐‐‐
On 10 April 2018 8:50 PM, Michael Szpakowski  wrote:

> [Sent from Yahoo Mail for iPhone](https://yho.com/footer0)
>
> Begin forwarded message:
>
> On Tuesday, April 10, 2018, 8:27 pm, Michael Szpakowski 
>  wrote:
>
>> Thanks so much Gill!
>>
>> [Sent from Yahoo Mail for iPhone](https://yho.com/footer0)
>>
>> On Tuesday, April 10, 2018, 7:42 pm, Gill Davies  
>> wrote:
>>
>>> Signed, Michael.  Best of luck.
>>>
>>> On 10 April 2018 at 19:38, Michael Szpakowski  
>>> wrote:
>>>
 And for those of you who have a connection with the course and with 
 Writtle, please leave a comment...If you're an artist or writer &c any 
 sort also please identify yourself... :)
 I'm pasting below my sig the motion passed today nem con in our UCU branch 
 meeting..
 Please also tweet, FB, e mail...
 thanks!
 Michael
 [Sign the 
 Petition](https://www.change.org/p/tessmaths1-gmail-com-defend-education-at-writtle-university-college-no-to-course-cuts-no-to-redundancies/share_for_starters?just_created=true)

 Sign the Petition

 tessmat...@gmail.com: Defend Education at Writtle university College! No 
 to course cuts, no to redundancies!

 This branch feels a sense of déjà vu.

 This branch notes that whilst members, other teachers and support staff 
 were conscientiously doing their usual best the entire senior management 
 team failed.
 Failed to see any problem coming, failed to open up any sort of discussion 
 and failed to show any concern for staff as evidenced by the inept and 
 cold-blooded way in which a package of course cuts and job losses was 
 presented as a fait accompli, the day before the Easter holiday weekend.

 This branch notes the Vice Chancellor’s highly insulting comment

  “We have not driven the business to achieve excellence – our portfolio, 
 in HE especially, is too broad for us to be outstanding in all fields of 
 study”

  (‘Strategic Change Agenda’ p3 bullet point three)

 This branch notes that the VC and presumably the SMT believes that Writtle 
 University College is a ‘business’  (ibid.) rather than an educational 
 institution.

 This branch notes the hugely successful campaign waged by our colleagues 
 in the pre 1992 universities to defend their pension rights and also the 
 recent no-confidence vote by Open University UCU members in their vice 
 chancellor when faced with a similar package of cuts, a similar rationale 
 and similarly insulting language.

 This branch believes in education.

 This branch believes that the entire SLT at Writtle has failed, we have no 
 confidence in it and therefore resolve to call upon all its members to 
 resign forthwith and for the governors to replace it with a team which 
 believes that the 100 year plus educational legacy of Writtle deserves 
 celebrating and defending, rather than yet another round of cuts.

 This branch further resolves to call upon the governors to withdraw the 
 cuts and closure proposal by the end of this week. If the package is not 
 withdrawn then a dispute will exist between the UCU and WUC and we will 
 seek permission to ballot for industrial action.

 This branch resolves to inform students of what is happening, both 
 directly and through the NUS and to seek their active support for a public 
 campaign against the cuts package including, but not limited to, social 
 media and a Change.org petition.

 In addition we resolve to seek common ground in fighting the cuts with our 
 colleagues in other WUC unions and other UCU branches.

 Passed nem. con.

 __ _
 NetBehaviour mailing list
 [NetBehaviour@lists. 
 netbehaviour.org](mailto:NetBehaviour@lists.netbehaviour.org)
 [https://lists.netbehaviour. org/mailman/listinfo/ 
 netbehaviour](https://lists.netbehaviour.org/mailman/listinfo/netbehaviour)
>>>

>>
>>>___
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Re: [NetBehaviour] open call: AMBIENT REVOLTS

[marc.garrett via NetBehaviour]

Thanks Ruth,

This material is perfect ;-)

marc

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with [ProtonMail](https://protonmail.com) Secure Email.

‐‐‐ Original Message ‐‐‐
On 9 April 2018 11:33 AM, Tom Keene  wrote:

> Very much so - thanks!
>
> TOM KEENE: Artist/Activist/Researcher
> Save Cressingham Gardens
> www.db-estate.co.uk
>
> On Mon, 9 Apr 2018, at 11:12 AM, ruth catlow wrote:
>
>> Of interest?
>>
>>  Forwarded Message 
>> Subject: [bgcon] open call: AMBIENT REVOLTS
>> Date:Mon, 9 Apr 2018 12:03:24 +0200
>> From:Krystian Woznicki 
>> [](mailto:k...@berlinergazette.de)
>>
>> Reply-To:k...@berlinergazette.de
>>
>> Organisation:Berliner Gazette
>> To:  digi-ya...@berlinergazette.de
>>
>> Hi,
>>
>> What does it mean to act politically when, like in this very moment, we
>> are confronting the spread of right-wing populism as an ambient force
>> that polarizes all of us? What, in other words, does it mean to oppose
>> the imperceptible power of an atmosphere that outrules a collectivity
>> that is inclusive of all? What does it mean to counter the
>> quasi-environmentalization of proto-fascist tendencies that further
>> foster segregation?
>>
>> Posing these questions in its 19th year, the Berliner Gazette continues
>> a long-term engagement with contemporary forms of political agency and
>> the common. In this open call for contributions, we wish to invite
>> activists, journalists, researchers, cultural workers, coders and
>> artists to join us looking for answers.
>>
>> We want to invite you to participate! There are two different formats of
>> participation: conference workshops (deadline: May 20, 2018 ) and online
>> newspaper (deadline: June 20, 2018).
>>
>> The structure of this email is as follows:
>>
>> 1. Development, context, goal
>> 2. Conference workshops | call for contributions
>> 3. Online-newspaper | call for contributions
>>
>> Links, that are implemented in the email text as footnotes, you will
>> find at the very bottom.
>>
>> 1. Development, context, goal
>>
>> *Development*
>>
>> The BG team [1] began developing the AMBIENT REVOLTS project in July
>> 2017. We started right after the G20 summit in Hamburg where some of us
>> joined the alternative media center FCMC [2]  and witnessed with many
>> other journalists the most severe execution of preemptive state violence
>> in Germany’s recent history [3,4,5]. The ensuing recreation of the
>> political landscape echoed the authoritarian approach of the G20 police
>> force: a shift of politics to the right and even radical right, a
>> restriction of demonstration rights and of expressions of political
>> dissent, scaling and expanding security measures, etc. Against this
>> backdrop we developed the concept for AMBIENT REVOLTS, including the
>> general idea for our 2018 annual project consisting of a special section
>> in our online-newspaper and a series of events culminating with our
>> annual conference.
>>
>> Shortly after the g20-summer the BG annual conference FRIENDLY FIRE [6]
>> took place and provided many fruitful possibilities to reflect the
>> politics of citizenship under current conditions. Then, in December
>> 2017, the BG team contributed to the #LutherLenin festival at the Studio
>> Hrdinu in Prague [7]. Here we were able to test some of the ideas for
>> AMBIENT REVOLTS. Finally we launched the project with first
>> contributions to our online newspaper [8] and with a panel at the
>> transmediale festival [9] in February 2018. Documents of our
>> transmediale event are available in audio [10] and video [11,12].
>>
>> After that few members of the BG team went on a month-log tour, visiting
>> some of the nodes of the BG network in Europe, including cities such as
>> Genoa, Barcelona, Madrid, Lisbon, Porto, Paris and Brussels. We learned
>> a lot about how the people who contribute to our online-newspaper or to
>> our annual conferences live and work in their respective local contexts.
>> This helped substantially honing some of the key ideas of the AMBIENT
>> REVOLTS project.
>>
>> *Context*
>>
>> When we returned to Berlin in the beginning of March 2018, the
>> atmosphere was literally spooky as the ghosts of the G20 summit came to
>> the fore again. Symptomatic of this was the career step of Olaf Scholz
>> [13]. Instead of paying for the consequences of his ‘bad management’ as
>> the mayor of Hamburg – we are, to reiterate, talking about the most
>> severe execution of state violence in Germany’s recent history –, Schol

[NetBehaviour] A radical proposal to keep your personal data safe | Richard Stallman

[marc.garrett via NetBehaviour]

Hi all,

I noticed one of my fave people Richard Stallman, wrote an article in the 
Guardian today.
Worth a read and it would be interesting see what others on this list think, 
regarding the subject matter of the article.

Wishing you well.

marc

A radical proposal to keep your personal data safe | Richard Stallman
https://www.theguardian.com/commentisfree/2018/apr/03/facebook-abusing-data-law-privacy-big-tech-surveillance?CMP=share_btn_fb

The surveillance imposed on us today is worse than in the Soviet Union. We need 
laws to stop this data being collected in the first place

Journalists have been asking me whether the revulsion against the abuse of 
Facebook data could be a turning point for the campaign to recover privacy. 
That could happen, if the public makes its campaign broader and deeper.

Broader, meaning extending to all surveillance systems, not just Facebook. 
Deeper, meaning to advance from regulating the use of data to regulating the 
accumulation of data. Because surveillance is so pervasive, restoring privacy 
is necessarily a big change, and requires powerful measures.
After the Facebook scandal it’s time to base the digital economy on public v 
private ownership of data
Evgeny Morozov
Read more

The surveillance imposed on us today far exceeds that of the Soviet Union. For 
freedom and democracy’s sake, we need to eliminate most of it. There are so 
many ways to use data to hurt people that the only safe database is the one 
that was never collected. Thus, instead of the EU’s approach of mainly 
regulating how personal data may be used (in its General Data Protection 
Regulation or GDPR), I propose a law to stop systems from collecting personal 
data.

The robust way to do that, the way that can’t be set aside at the whim of a 
government, is to require systems to be built so as not to collect data about a 
person. The basic principle is that a system must be designed not to collect 
certain data, if its basic function can be carried out without that data.

Data about who travels where is particularly sensitive, because it is an ideal 
basis for repressing any chosen target. We can take the London trains and buses 
as a case for study.

The Transport for London digital payment card system centrally records the 
trips any given Oyster or bank card has paid for. When a passenger feeds the 
card digitally, the system associates the card with the passenger’s identity. 
This adds up to complete surveillance.

I expect the transport system can justify this practice under the GDPR’s rules. 
My proposal, by contrast, would require the system to stop tracking who goes 
where. The card’s basic function is to pay for transport. That can be done 
without centralising that data, so the transport system would have to stop 
doing so. When it accepts digital payments, it should do so through an 
anonymous payment system.

Frills on the system, such as the feature of letting a passenger review the 
list of past journeys, are not part of the basic function, so they can’t 
justify incorporating any additional surveillance.
Sign up to the Media Briefing: news for the news-makers
Read more

These additional services could be offered separately to users who request 
them. Even better, users could use their own personal systems to privately 
track their own journeys.

Black cabs demonstrate that a system for hiring cars with drivers does not need 
to identify passengers. Therefore such systems should not be allowed to 
identify passengers; they should be required to accept privacy-respecting cash 
from passengers without ever trying to identify them.

However, convenient digital payment systems can also protect passengers’ 
anonymity and privacy. We have already developed one: GNU Taler. It is designed 
to be anonymous for the payer, but payees are always identified. We designed it 
that way so as not to facilitate tax dodging. All digital payment systems 
should be required to defend anonymity using this or a similar method.

What about security? Such systems in areas where the public are admitted must 
be designed so they cannot track people. Video cameras should make a local 
recording that can be checked for the next few weeks if a crime occurs, but 
should not allow remote viewing without physical collection of the recording. 
Biometric systems should be designed so they only recognise people on a 
court-ordered list of suspects, to respect the privacy of the rest of us. An 
unjust state is more dangerous than terrorism, and too much security encourages 
an unjust state.

The EU’s GDPR regulations are well-meaning, but do not go very far. It will not 
deliver much privacy, because its rules are too lax. They permit collecting any 
data if it is somehow useful to the system, and it is easy to come up with a 
way to make any particular data useful for something.

The GDPR makes much of requiring users (in some cases) to give consent for the 
collection of their data, but that doesn’t do much good. System

Re: [NetBehaviour] Social Media / major Internet services alternatives

[marc.garrett via NetBehaviour]

Hi nacho,

Thanks for sharing this info - will submit what I come across, either here on 
your site.

The site is a great source for presenting in a straight forward way how to 
create privacy online :-)

wishing you well.

marc

> Hi everyone
>
> i quit my social media (also google and dropbox) some months ago, and now 
> with all the Cambridge Analitica, ect, news, all my friends are asking me lot 
> of questions, why, how, when, and specially they ask for alternatives and 
> websites with more info.
>
> more than trying to make a list (which would be also very interesting) of 
> services i'm interested in those websites with lot of information and 
> alternatives. if you happen to have similar ones, please share. i have 
> bookmarket this one:
>
> https://myshadow.org/
>
> n___
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[NetBehaviour] Today at the Goethe Institut London - What will it be like when we buy an island (on the blockchain)?

[marc.garrett via NetBehaviour]

This afternoon we enter a Live Action Role Play as a cast of crypto 
billionaires establishing infrastructure and communities on four islands with 
swooning palm trees, sandy beaches and lack of governmental constraints or tax 
laws... @furtherfield #DAOWO

This series brings together artists, musicians, technologists, engineers, and 
theorists to join forces in the interrogation and production of new blockchain 
technologies.

What Will It Be Like When We Buy An Island (on the Blockchain)? is the fifth 
event in the DAOWO blockchain laboratory and debate series for reinventing the 
arts.

https://www.goethe.de/ins/gb/en/ver.cfm?fuseaction=events.detail&event_id=21076870

In previous workshops we have explored developments in the arts ecosystem, 
impacts on identity, and the complex considerations around "doing good" on the 
blockchain.

In this Live Action Role Play we embody the values and beliefs of a cast of 
crypto billionaires to establish infrastructure, communities and culture on 
four islands, made attractive by their swooning palm trees, sandy beaches and 
lack of governmental constraints or tax laws.

We join our four islands at pivotal stages in their historic progress. 
Fabricating the evolution of their communities from real-world events, 
tendencies and possibilities we will endeavor to establish autonomous worlds 
whose governance systems and infrastructures give full expression to our shared 
dreams and nightmares.

We set out with four communities to their islands with just hopes and dreams. 
After a year, their problem solving mettle has been tested by unexpected 
pressures and challenges. Each participant in the LARP takes a position on the 
‘board’, established to resolve problems, conflicts and issues encountered by 
the crypto-islanders. We next join them at the celebration of the 50th year 
anniversary of the island’s founding to discover what kind of equilibrium has 
been reached and how has the island treated them.

Finally future theologists explore the significance of the four 2000 year old 
‘White Papers’ recently retrieved from the museum vaults. What can they tell us 
about the genesis stories of the islands and exactly what has happened to those 
societies?

This workshop is devised by Ed Fornieles with Ben Vickers and Ruth Catlow.

---___
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[NetBehaviour] Save the date: Transnationalisms Conference, 24-25 April 2018 in Ljubljana

[marc.garrett via NetBehaviour]

Aksioma – Institute for Contemporary Art, Ljubljana, is proud to announce:

Transnationalisms

Bodies, Borders and Technology

Conference & exhibition

www.aksioma.org/transnationalisms

Curated by: James Bridle

Kino Šiška Centre for Urban Culture

Trg prekomorskih brigad 3, Ljubljana

TUESDAY, 24 April 2018

17:00–17:45  James Bridle: The Real Name Game

17:45–18:15  Mojca Pajnik: Reclaiming Humanity: The Utopias of World Citizenship

18:30–19:00  Marco Ferrari: Italian Limes: Mapping the Shifting Border Across 
Alpine Glaciers

19:00–19:30  Q&A

20:30  Exhibition opening: Transnationalisms – Part I

+MSUM Museum of Contemporary Art Metelkova, Maistrova 3, Ljubljana

Artists: Studio Folder

WEDNESDAY, 25 April 2018

17:00–17:45  Eleanor Saitta: Performing States

17:45–18:15  Denis Maksimov: steɪt əv nəʊlænd [State of Noland]: On Potent 
Futures Post-Sovereignty, Nationalism & Imperialism

18:30–19:00  Jean Peters (Peng! Collective): Hacking Politics with Subversion, 
Civil Disobedience and Law

19:00–19:30  Q&A

20:30  Exhibition opening: Transnationalisms – Part II

Aksioma | Project Space, Komenskega 18, Ljubljana

Artists: Raphael Fabre, Jeremy Hutchison, They Are Here, Julian Oliver, Daniela 
Ortiz, Jonas Staal

Free admission.

Please fill in the registration form by 23 April 2018.



We live in a time of stark and often violent paradoxes: the increasing 
liberalisation of social values in some parts of the world compared to 
increasing fundamentalism in others; the wealth of scientific discovery and 
technological advances in contrast to climate denialism, “post-factual” and 
conspiracy-driven politics; freedom of movement for goods and finance while 
individual movement is ever more constricted and subject to law; a drive 
towards agency, legibility and transparency of process while automation, 
computerisation and digitisation, render more of the world opaque and remote. 
At every level, mass movement of peoples and the rise of planetary-scale 
computation is changing the way we think and understand questions of geography, 
politics, and national identity.

These ever-increasing contradictions are seen most acutely at the border. Not 
merely the border between physical zones and between nation states, with their 
differing legal jurisdictions and requirements for entry and residency, but 
also the border between the physical and digital, when we apparently - but 
perhaps misleadingly and certainly temporarily - cross over into a different 
zone of possibility and expression.

This contradiction is also clear in the balkanisation of newly independent and 
fragmenting states, and in the rising current of nationalism across Europe, 
which seems to run in parallel to, and might even be accelerated by, digital 
connectivity. Some of the most outwardly regressive powers themselves employ 
what Kremlin theorist Vladislav Surkov has called “non-linear strategy”: a 
strategy of obfuscation and deliberate contradiction clearly indebted to the 
convolutions and confusions of the digital terrain - and of art. As ever more 
varied expressions of individual identity are encouraged, revealed, made 
possible and validated by online engagement, so at the same time a desperate 
rearguard action is being fought to codify and restrain those identities - 
online and off. These new emergent identities are, inevitably and by necessity, 
transient and contingent, slippery and subject to change and redefinition.

The artists featured in Transnationalisms address the effect of these pressures 
on our bodies, our environment, and our political practices. They register 
shifts in geography as disturbances in the blood and the electromagnetic 
spectrum. They draw new maps and propose new hybrid forms of expression and 
identity. In the exhibition and in associated lectures from artists, 
researchers and theorists, Transnationalisms acknowledges and even celebrates 
the contradictions of the present moment, while insisting on the transformative 
possibilities of digital tools and networks on historical forms of nationalism, 
citizenship, and human rights. While the nation state is not about to 
disappear, it is already pierced and entangled with other, radically different 
forms. Alternative models and protocols of citizenship, identity, and 
nationhood are being prototyped and distributed online and through new 
technologies. Transnationalisms examines the ways in which these new forms are 
brought into the physical world and used to disrupt and enfold existing 
systems. It does not assume the passing of old regimes, but proclaims the 
inevitability of new ones, and strives to make them legible, comprehensible, 
and accessible.

More about the event: www.aksioma.org/transnationalisms

Production: Aksioma – Institute for Contemporary Art, Ljubljana, 2018

Coproduction: Kino Šiška Centre for Urban Culture, Ljubljana and Drugo more, 
Rijeka

Partner: Museum of Contemporary Art Metelkova, Ljubljana

Supported by: the Cr

Re: [NetBehaviour] join us Thursday for the online symposium and performance

[marc.garrett via NetBehaviour]

Hi Annie,

Thanks for sharing this. It looks great & I recommend it highly :-)

I will jump into the conference between 29-31st while it's on. Although, I am 
deeply involved in my PhD at the moment, and we are also setting up the next 
exhibition at Furtherfield 'Poetry for Animals, Machines and Aliens: The Art of 
Eduardo Kac' - https://bit.ly/2ur2LD4

I was reading some of the introductory text, which I think really communicates 
well some of the ambitions of everybody who is involved, and perhaps those who 
will visit the on-line conference during its 3 days.

Regarding Randall packer's comments on this page 'Disentangling the 
Entanglements' (https://bit.ly/2J1jLmK) "Despite all of the hyperbole about how 
we’re all so interconnected in the McLuhanesque notion of the global village, 
and with all the corporate-driven utopianism that runs rampant around the 
Internet and social media, how it brings us all together: we have artists such 
as Annie Abrahams intent on disentangling the entanglements in order to better 
understand the nature and quality of the third space environment we 
increasingly find ourselves in."

I think the above text resonates with many others on this list also. Whether 
one is a die-hard techie or not...

chat soon.

marc

Sent with [ProtonMail](https://protonmail.com) Secure Email.

‐‐‐ Original Message ‐‐‐
On 26 March 2018 12:23 PM, Annie Abrahams via NetBehaviour 
 wrote:

> As you know we are preparing for the performance Online En-semble - 
> Entanglement Training that we (Antye Greie, Helen Varley Jamieson, Soyung 
> Lee, Huong Ngô, Daniel Pinheiro, Igor Stromajer and me) will propose at the 
> first day of the  [The Art of the Networked Practice Online 
> Symposium](https://thirdspacenetwork.com/symposium2018/).
>
> I wrote a post where I introduce the artists and tell something about how I 
> met them and who they are [Training Entanglement with 
> whom?](https://aabrahams.wordpress.com/2018/03/25/training-entanglement-with-who/)
>
> Randall Packer wrote about our preparations in [Disentangling the 
> Entanglements](https://thirdspacenetwork.com/symposium2018/disentangling-the-entanglements/).
>  And in [A promise of 
> internationalism](https://aabrahams.wordpress.com/2018/03/19/a-promise-of-internationalism/)
>  he introduces Maria Chatzichristodoulou's keynote of the same day.
>
> Here is a short video of our Latency Training https://youtu.be/X-mETHIZrU8.
>
> If you want to join, which I hope some of you will do, here is a link where 
> you can find how to prepare yourself for the event. 
> https://thirdspacenetwork.com/symposium2018/preparation-for-the-third-space-online-symposium/
>  It will only take a few minutes.
> All the best
> Annie Abrahams
> Ps Good luck with [DAOWO workshop, What Will It Be Like When We Buy An Island 
> (on the 
> blockchain)?](http://www.daowo.org/#what-will-it-be-like-when-we-buy-an-island-on-the-blockchain)
>  in London.___
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[NetBehaviour] AI Ethics & Prosthetics - Workshop in Berlin Friday 6th April

[marc.garrett via NetBehaviour]

Via Marco Donnarumma

Dears,

the next session of my critical thinking workshop on AI Ethics & Prosthetics is 
hosted by the Czech Center in Berlin on Friday 6th April.

It happens in conjunction with the Czech Innovation Festival which will focus 
on artificial intelligence.

~~

WHEN:

Friday 6th April 2018
Time: 17:00-20:00

HOW:

Participation is free, but registration is required.
Please register at doubko...@czech.cz

WHAT:

A critical thinking workshop on the radical potential of artificial 
intelligence (AI) to change human bodily experience.

In this workshop we focus on the drastic and, as of now, underestimated 
potential of AI to change human bodily experience. We begin with the question 
“Would you live with an autonomous prosthesis?” Using speculative methods and 
critical conversations, we discuss the ethics of AI in relation to future 
intelligent machines that do not only live with us, but on and within us.

What forms of bodily experience will emerge? Who will own the algorithms and 
the data driving these new prosthesis? Will prosthetic devices become more 
appealing to those who do not necessarily need one? Will they become more 
useful for those in real need?

~~

The workshop is part of Donnarumma’s 2-year Research Fellowship at Berlin 
University of the Arts, in partnership with the Neurorobotics Research 
Laboratory at Beuth-Hochschule für Technik Berlin, 2016-2018.

Further info: http://marcodonnarumma.com/works/ai-ethics-prosthetics/

Wishing you well,

--
Marco Donnarumma, Ph.D.
Performing bodies, sound and machines
Universität der Künste Berlin
[http://marcodonnarumma.com](http://marcodonnarumma.com/)

Next
Mar 24 | Corpus Nil @ Viviarium Festival, Porto
Mar 26 - Apr 30 | "The Restlessness of Hybridity" @ Solo Exhibition, Baltan 
Laboratories, Eindhoven
Apr 12 | Corpus Nil @ ArtSci Salon, Toronto

Latest Essay
["Beyond the Cyborg: Performance, attunement and autonomous 
computation"](https://www.researchgate.net/publication/316989653_Beyond_the_Cyborg_Performance_attunement_and_autonomous_computation)

Studio
Einsteinufer 43, Raum 212
10587 Berlin, DE
m: +4915221080444

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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[NetBehaviour] Tonight! REMINDER Special Issue 5 - OuNuPo

[marc.garrett via NetBehaviour]

Wednesday 28th March 2018
Doors Open: 19:00
Time: 19:30
Location: Worm
Free Admission

Special Issue 5 - OuNuPo

XPUB, Varia and WORM invite you for an evening of book scanning, short 
presentations, discussions and software experiments in the context of text 
digitisation and processing.

OuNuPo, Ouvroir de Numérisation Potentielle, the workshop of potential 
digitisation.

From January until the end of March 2018 the practitioners of the Media Design 
Experimental Publishing Master course (XPUB) of the Piet Zwart Institute, in 
collaboration with Manetta Berends & Cristina Cochior (Varia) and the WORM 
Pirate Bay, have set sail on the vast sea of DIY book scanning, feminist 
research methodologies, constraint writing, algorithmic literature and the 
cultures of text digitisation and processing.

The term OuNuPo is derived from OuLiPo (Ouvroir de littérature potentielle), 
founded in 1960. OuLiPo is a mostly French speaking
gathering of writers and mathematicians interested in constrained writing 
techniques.  A famous technique is for instance the lipogram
that generates texts in which one or more letters have been excluded. OuLiPo 
eventually led to OuXPo to expand these creative constraints to other practices 
(OuCiPo for film making, OuPeinPo for painting, etc). Following this expansion, 
XPUB launches OuNuPo, Ouvroir de Numérisation Potentielle, the workshop of 
potential digitisation, turning the book scanner as a platform for media design 
and publishing experiments.

In the past three months, the XPUB practioners have used the OuNuPo as a means 
to reflect on several topics: how culture is shaped by book scanning? Who has 
access and who is excluded from digital culture? How free software and open 
source hardware have bootstrapped a new culture of librarians? What happens to 
text when it becomes data that can be transformed, manipulated and analysed ad 
nauseam?

To answer these questions, the XPUB practitioners have written software and 
assembled a unique printed reader, informed by critical and feminist research 
methodologies and that explore the themes of the digital transfer of cultural 
biases, Techno/Cyber/Xeno-Feminism, orality in the context of knowledge 
sharing, shadow libraries, database narratives, gender and future librarians. 
The content of the reader will be scanned by a DIY book scanner built in the 
past months, and processed by different software processes and performances 
written by the XPUB practitioners, from chat bots to concrete poetry generators 
and speech recognition feedback loops.

For more information: 
[https://issue.xpub.nl/05](https://pzwart.us17.list-manage.com/track/click?u=46cd0b1375588de7d555236dc&id=78075d054f&e=e9acc98463)___
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[NetBehaviour] Just testing...

[marc.garrett via NetBehaviour]

Just testing...

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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[NetBehaviour] Practical Electronics for Artists – Intensive Day Course

[marc.garrett via NetBehaviour]

Practical Electronics for Artists – Intensive Day Course
Saturday 24th March 10am-5pm
£36 (including materials)

On this small group workshop you will learn how electronic
components work and how to build circuits.
It is ideal for those wishing to get started or go on a refresher course.

During the course you will learn to:
* Identify electronic components and what they do.
* Read circuit diagrams and build working circuits
* Use a range of tools and practical soldering techniques

The workshop leader is John Moseley, who runs Access Space's maker space Refab 
Space. He has a professional background in electronics and media production, 
with qualifications in electronics, information technology and teaching. He 
particularly enjoys making robots and electronic musical instruments.
@_Jo_Mo

To help get you orientated in the world of electronics you will
build your own zombie robot that runs off dead batteries!

Book a place here 
https://www.eventbrite.co.uk/e/practical-electronics-for-artists-intensive-day-course-tickets-43970097746

Facebook event  https://www.facebook.com/events/211355842943335

This course is aimed at adults, but over 16s are welcome.

Please bring your own lunch or make use of some of the great cafes and pubs 
close by.

For info email j...@access-space.org
0114 2495522 (Tue/Thu/Fri 11am-6pm, Wed 1pm-8pm)

Access Space, Unit 1 AVEC Bldg, 3-7 Sidney St, Sheffield S1 4RG, UK.
www.access-space.org

Supported using public funding by the National Lottery through Arts Council 
England

--

All the best
Jake


Jake Harries, Director of Arts and Innovation
www.access-space.org  +44(0)114 249 5522
@accessspace facebook.com/accessspace
3-7 Sidney St, Sheffield, S1 4RG, UK
j...@access-space.org


Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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[NetBehaviour] IEM Music Residency Program 2019 - Call for Applications

[marc.garrett via NetBehaviour]

IEM Music Residency Program 2019 - Call for Applications
https://iem.at

(sorry for cross-posting; please distribute)

The IEM - Institute of Electronic Music and Acoustics - in Graz, Austria
is happy to announce its call for the 2019 Artist-in-Residence program.

The residency is aimed at individuals wishing to pursue projects in
performance, composition, installation, sound art, development of tools
for art production, and related areas. Individuals are asked to submit a
project proposal that is related to the fields of artistic research of
the IEM, as:
*   Algorithmic Composition
*   Algorithmic Experimentation
*   Audio-Visuality
*   Dynamical Systems
*   Experimental Game Design
* Live Coding
*   Sonic Interaction Design
*   Spatialization/higher-order Ambisonics
*   Standard and non-standard Sound Synthesis

Duration of residency: 5 months
Start date: June 1st 2019 (negotiable)
Monthly salary: approx. EUR 1100 (net)

APPLICATION DEADLINE: 1st of May 2018

The Institute:
The Institute of Electronic Music and Acoustics is a department of the
University of Music and Performing Arts Graz founded in 1965. It is a
leading institution in its field, with more than 35 staff members of
researchers and artists. IEM offers education to students in composition
and computer music, sound engineering, sound design, contemporary music
performance, and musicology. It is well connected to the University of
Technology, the University of Graz as well as to the University of
Applied Sciences Joanneum through three joint study programs.

The artwork produced at IEM is released through the Institute's own Open
CUBE and Signale concert series, as well as through various
collaborations with international artists and institutions.

What we expect from applicants:
- A project proposal that adds new perspectives to the Institute's
activities and resonates well with the interests of IEM.
- Willingness to work on-site in Graz for the most part of the Residency.
- Willingness to exchange and share ideas, knowledge and results with
IEM staff members and students, and engage in scholarly discussions.
- The ability to work independently within the Institute.
- A dissemination strategy as part of the project proposal that ensures
the publication of the work, or documentation thereof, in a suitable
format. This could be achieved for example through the release of media,
journal or conference publication, a project website, or other means
that help to preserve the knowledge gained through the Music Residency
and make it available to the public.
- A public presentation as e.g. a concert or installation, which
presents the results of the Artist Residency.

What we offer:
- 24/7 access to the facilities of the IEM.
- Exchange with competent and experienced staff members.
- A desk in a shared office space for the entire period and access to
studios including the CUBE [1], according to availability.
- Extensive access to the studios of the IEM during the period from July
1st until end of September.
- access to the IKOsahedron loudspeaker [2]
- access to the “Autoklavierspieler” [3]
- infrared motion tracking systems
- Regular possibilities for contact and exchange with peers from similar
or other disciplines.
- Concert and presentation facilities (CUBE 24 channel loudspeaker
concert space).
- A monthly salary of approx. EUR 1100 net per month in addition to
health and accident insurance.

What we cannot offer to the successful applicant:
- We cannot provide any housing.
- We also cannot provide continuous assistance and support, although the
staff is generally willing to help where possible.
- We cannot host artist duos or groups, because of spatial limitations.
- We cannot offer any additional financial support for travel or
material expenses.

An application form providing more information is available at
https://residency.iem.at/

Feel free to contact reside...@iem.at if you have any questions.

[1] The Cube has a 24-channel loudspeaker system
[2] http://iko.sonible.com/
[3] http://algo.mur.at/projects/autoklavierspieler

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To unsubscribe send an email to livecode-le...@we.lurk.org

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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Re: [NetBehaviour] The Blockchain as a Modulator of Existence

[marc.garrett via NetBehaviour]

Hi Edward,

Fair enough - I wouldn't dare use those words, and i think it makes the subject 
less interesting. However, if you fancy a bash at this -- Marc Garrett - 
Unlocking Proprietorial Art Systems.

It's a sketch at the moment, and will be published in an academic book after a 
rigorous peer to peer, critiquing & editing process. It may even change in 
front of your very eyes - while reading it ;-)

Unlocking Proprietorial Art Systems.

Marc Garrett - Unlocking Proprietorial Art Systems.

“And assure yourselves, if you pitch not right now upon the right point of 
freedome in action, as your Covenant hath it in words, you will wrap up your 
children in greater slavery then ever you were in…”[1] (Winstanley 1649)

Introduction

The cultural, political and economic systems in place do not work for most 
people. They support a privileged, international class that grows richer while 
imposing increasing uncertainty on others, producing endless wars, and 
enhancing the conditions of inequality, austerity, debt, and climate change, in 
order to own everything under the rule of neoliberalism. David Harvey argues 
that the permeation of neoliberalism exists within every aspect of our lives, 
and it has been masked by a repeated rhetoric around “individual freedom, 
liberty, personal responsibility and the virtues of privatization, the free 
market and free trade”[2] (Harvey 2011) Thus, legitimizing “draconian policies 
designed to restore and consolidate capitalistic class power.”[3] In their 
essay Manufacturing the Neo-liberal Subject, Pierre Dardot and Christian Laval 
say, that we have not yet emerged from what they call, “the ‘iron cage’ of the 
capitalist economy to which Weber referred. Rather, in some respects it would 
have to be said that everyone is enjoined to construct their own individual 
little ‘iron cage’.”[4] (Dardot & Laval 2011)

If we are, as Dardot & Laval put it co-designing our own iron cages, how do we 
find ways to be less dominated by these over powering infrastructures and 
systems? How do we build fresh, independent places, spaces and identities, in 
relation to our own peer 2 peer, artistic and cultural practices, individually 
and collectively – when, our narratives are dominated by elite groups typically 
biased towards isolating and crushing alternatives? Does this mean that 
critical thought, artistic and experimental cultural ventures, along with 
creatively led technological practices, are all doomed to perpetuate a state of 
submission within a proprietorial absolute?

To unpack these questions we look at different types of proprietorial systems, 
some locked and unlocked. All examples deal with examining proprietorial 
conditions, in life, their creative forms of production across the fields of 
the traditional art world, and media art culture. It looks at how artists are 
dealing with these issues through their artistic agency, individually, 
collaborative, or as part of a group or collective. This includes looking at 
the work's intentions, production and its cultural and societal contexts, where 
different set of values and new possibilities are emerging, across the practice 
of art, academia, and technology, and thus, the world. The final part of this 
text explores how and why my own arts organization Furtherfield, is moving into 
practices surrounding the blockchain as a space for cultural development, and 
what this means in relation to critiquing and actively challenging 
proprietorial domination.

The meanings of the words proprietorial and proprietary are closely linked. 
Proprietary is defined as meaning that one possesses, owns, or holds the 
exclusive right to something, specifically an object. For instance, it can be 
described as something owned by a specific company or individual. In the 
computing world, proprietary is often used to describe software that is not 
open source or freely licensed. Examples include operating systems, software 
programs, and file formats.[5] Many involved in the Free and Open Source 
Software movement, share a set of values built around its beliefs against 
proprietary control over our use of technology. Olga Goriunova argues that, 
software is not only bound to objects but also includes social relations and 
it’s about breaking away from the fetishism of proprietary software structures, 
and “commodification of social processes layered into software production and 
operation.”[6] (Goriunova 2008)

However, if we consider the definition of proprietorial, in the Cambridge 
Dictionary, it is especially poignant when it says “like an owner: He put a 
proprietorial arm around her.” This brings us directly to a biopolitical 
distinction. The term biopolitics was first coined by Rudolf Kjellén, (who also 
coined the term geopolitics)[7] (Markus 2015) and then later expanded upon by 
Michel Foucault, arguing that certain styles of government regulate their 
populations through biopower. Hardt and Negri developed Foucault’s ideas sayi

[NetBehaviour] The Blockchain as a Modulator of Existence

[marc.garrett via NetBehaviour]

The Blockchain as a Modulator of Existence

By: Oliver Leistert

"The advent of the blockchain as a protocological internet layer for values 
corresponds to a continuing monetization pressure and ongoing expansion of 
identification strategies. Notwithstanding these trajectories, behind this 
prospected killer application resides first of all a sovereign chronological 
regime that has the capacities to proof and modulate the existence, identity 
and administration of data, assets, goods and services from a distance on 
micrological scales."

http://bit.ly/2FeZNCl___
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[NetBehaviour] The untenable technophobia of the Left

[marc.garrett via NetBehaviour]

The untenable technophobia of the Left
Simona Levi and Xnet 2 March 2018

"At least in Spain, the conservative Right tries to censor and jail as many 
Twitter users as it can. Fair enough. That is their goal: why would the Right 
not want to suppress rights and freedoms? It wouldn’t be the Right after all.

But what permits them to do this is the Left, whose conservatism and 
ideological dogma prevent them from embarking on a genuine upgrade and 
adaptation to the new –. This Left must be held responsible. In the digital age 
the overwhelming technophobia of the Left leads us towards disaster and 
unbridled repression."

http://bit.ly/2FgvmzK

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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[NetBehaviour] Keep Calm and Carry on Monitoring the Media: a Review of Monitorial Citizen

[marc.garrett via NetBehaviour]

Keep Calm and Carry on Monitoring the Media: a Review of Monitorial Citizen

Chrystalleni Loizidou reviews Monitorial Citizen on Furtherfield - 
http://bit.ly/2oGBkz8

NeMe (Cyprus), 9th December 2017, part of the State Machines programme

"One couldn’t have wished for a more grounding response to contemporary media 
anxieties than this event. I don’t mean that the conference was all rainbows 
and lolkittens. I mean that it collected and tackled serious issues about the 
contemporary media landscape, its decentralization and its paranoias. It 
brought together perspectives on monitorial citizenship, citizen participation 
and citizen journalism –increasingly discussed in journalism and citizenship 
studies as new, post-modern, or alternative forms of civic engagement that also 
involve new, post-modern or alternative practices of media participation– and 
how this phenomenon can reinforce democratic ideals, and counteract forces or 
fears for their dissolution.

By all means, there seems to be a lot for us to worry about, a condition which 
the conference takes as its starting place. As moderator Corina Demetriou 
mentioned during her introduction, there’s the increasing fragmentation and 
polarization of our world where the success of populist rhetoric and the 
degradation of political discourse raises concern about our democratic 
institutions. Then there’s the proliferation of fake news, the dominance of 
media-scepticism, of conspiracy theory and of justifiably alarmist parental 
control discourse. And further yet, there’s the democratic failures of 
contemporary mass media, the corporate nature of social media, and concerns 
about the failures of media-education. All these in the face of increased 
surveillance and online censorship instituted with the excuse of / in order to 
battle all sorts of nightmarish villains."___
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[NetBehaviour] THE 5th TRONDHEIM BIENNALE FOR ART & TECHNOLOGY!

[marc.garrett via NetBehaviour]

WELCOME TO THE 5th TRONDHEIM BIENNALE FOR ART & TECHNOLOGY!

"META.MORF 2018 - A BEAUTIFUL ACCIDENT"
March 8 - May 6, 2018 - Trondheim, Norway

Seated in economy class, sipping on Piña Coladas, listening to the Beach Boys 
while blissfully sailing into the ultimate sunset; Is mankind prepared for 
being thrown out of Tellus’s cockpit, as a product of our innovative nature?

The fifth Trondheim biennale, Meta.Morf 2018 – A Beautiful Accident – has the 
ambition to present international acknowledged artists and researchers with an 
interest in Speculative Design and Futures.



META.MORF 2018 OPENING FESTIVAL
March 8 - 10, 2018

A BEAUTIFUL ACCIDENT - Exhibition
March 8 – May 6, Trondheim kunstmuseum – Gråmølna

JAMES BRIDLE / DISNOVATION. ORG / FLORIS KAAYK / SASCHA POHFLEPP / FÉLIX LUQUE 
SÁNCHEZ / JORIS STRIJBOS / FREDERIK DE WILDE / PINAR YOLDAS

A BEAUTIFUL ACCIDENT - Conference
March 9 - 10, Dokkhuset, Trondheim / Free entrance. To secure seats register to 
t...@teks.no.

RACHEL ARMSTRONG / ZANE CERPINA / LOUIS-PHILIPPE DEMERS / DISNOVATION. ORG / 
SIMONE FERRACINA / JULIE FREEMAN / ROLF HUGHES / FLORIS KAAYK / ERIN MANNING / 
RASHIK PARMAR / FÉLIX LUQUE SÁNCHEZ / SUSAN STEPNEY / JORIS STRIJBOS / BILL 
VORN / KEVIN WARWICK / FREDERIK DE WILDE / PINAR YOLDAS

INFERNO - Concert & Performance
March 9 - 10 @ 21.00, Dokkhuset, Trondheim
LOUIS-PHILIPPE DEMERS & BILL VORN



INFORMATION ABOUT ALL ARTISTS AND SPEAKERS, FULL PROGRAM, TIMES AND TICKETS @ 
metamorf.no
facebook.com/teks.no
instagram.com/meta.morf

tickets: dokkhuset.no



\\
T E K S
Trondheim Electronic Arts Centre
[www.teks.no](http://www.teks.no/)
\\
Meta.Morf
biennale for art and technology
[www.metamorf.no](http://www.metamorf.no/)
\\___
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[NetBehaviour] New review on Furtherfield 'fronterlebnis – Boy’s Toys on the Frontline'

[marc.garrett via NetBehaviour]

Kieran Sellars reviews Dani Ploeger’s exhibition at Arebyte fronterlebnis – 
Boy’s Toys on the Frontline.

Dani Ploeger’s fronterlebnis takes us to a frontline where digital consumer 
culture and traditional warfare meet. Combining filmed footage of a journey to 
the frontline in the Donbass War, Ukraine, alongside vintage military 
paraphernalia, "Ploeger puts the artist in the field with the ‘real’ soldier" 
http://bit.ly/2o9d3Ba

In frontline, as in all of the pieces that are exhibited as part of 
fronterlebnis, Ploeger subverts our expectations by combining and repurposing 
technology to make us question our relationship with our technological devices 
and how we perceive and engage with them in everyday life. In addition to its 
examination of digital culture, fronterlebnis also seems to suggest that 
warfare remains a man’s game. We encounter men who are still prone to having 
their boy’s toys, but it would seem that in this case they are a GoPro in one 
hand, and a Kalashnikov in the other. Ploeger’s documentation of these 
conflicts, made with his own personal technological devices, arguably envelopes 
him in similar mechanisms of fetishization as the soldiers he was with. Neither 
soldier nor artist seem able to extract themselves from the seductive realm of 
audiovisual gadgets and self-mediatization in an era of omnipresent digital 
consumer culture that even reaches as far as the trenches of a dirty ground war.

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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[NetBehaviour] New book review for 'Artists Re:Thinking the Blockchain'

[marc.garrett via NetBehaviour]

Jess Houlgrave‏ reviews Artists Re:Thinking the Blockchain

"In recent weeks I have found myself boring everyone I meet, in blockchain, 
art, both or neither, spreading the word about Artists Re:Thinking the 
Blockchain. The book is a refreshing break from “a guide to investing in ICOs”. 
Most importantly, at this nascent stage of development, [...] it encourages 
analytical and evaluative discourse of what blockchain is and what it might 
mean for us all." Jessy from the block. - http://bit.ly/2oazKoy___
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[NetBehaviour] Terror Feeds Report from the Disruption Network Lab

[marc.garrett via NetBehaviour]

Terror Feeds Report from the Disruption Network Lab.

Review by Alessandro Borsci

TERROR FEEDS: Inside the Fear Machine, took place in Berlin November 24-25 
2017, and was an analysis of ISIS and its media strategy, the meaning of cyber 
jihad, and why people enroll as foreign fighters. The 12th conference of the 
Disruption Network Lab was directed by Tatiana Bazzichelli. Studio 1, 
Mariannenplatz 2, 10997 Berlin.

Curated by Tatiana Bazzichelli and investigative journalist Mauro Mondello. In 
cooperation with Kunstraum Kreuzberg /Bethanien, SPEKTRUM and Supermarkt Berlin.

https://www.furtherfield.org/terror-feeds-report/___
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[NetBehaviour] State Machines launches an open call for a new commissioned artistic project

[marc.garrett via NetBehaviour]

State Machines launches an open call for a new commissioned artistic project
Open Call for works
Deadline: 31/01/2018

State Machines is a programme of activities devoted to the investigation of new 
relationships between states, citizens and the stateless made possible by 
emerging technologies. Focussing on how such technologies impact identity and 
citizenship, digital labour and finance, the project joins five experienced 
partners – Aksioma (Slovenia), Drugo more (Croatia), Furtherfield (UK), 
Institute of Network Cultures (Netherlands) and NeMe (Cyprus) together with a 
range of artists, curators, theorists and 
[audiences.www.statemachines.eu](http://audiences.www.statemachines.eu/)

Every time a smartphone powers up, their user is tied inextricably into data, 
laws and flowing bytes to different countries. Their every personal expression 
is framed and mediated by digital platforms which now include those operating 
new kinds of currencies, financial exchange, and labour relations that bypass 
corporations and governments.Meanwhile these same technologies increase 
governmental powers of surveillance, allow corporations to extract ever more 
complex working arrangements, and, although seemingly the epitome of 
globalization, they do little to slow the construction of actual walls along 
actual borders.

We ask how might the digital subjects of today become active, engaged, and 
effective digital citizens of tomorrow?
State Machines now launches an open call for a new commissioned artistic 
project.

See here for details
http://www.statemachines.eu/projects/open-call-for-works/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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[NetBehaviour] Mark E Smith, founder and lead singer with the Fall, dies aged 60

[marc.garrett via NetBehaviour]

Mark E Smith, founder and lead singer with the Fall, dies aged 60

Sad to hear abotu the death of Mark E Smith. I will be playing The Fall all day 
today. Will be missed. One of my many working class heroes...

"Smith formed the Fall in 1976 in Prestwich and was the only constant member of 
the band. He was known for his tempestuous relationship with his bandmates, and 
frequently fired them – there have been 66 different members over the years, 
with a third of them lasting less than a year. Smith famously once said: “If 
it’s me and yer granny on bongos, it’s The Fall.”

"He was a famously prolific musician. Last year the Fall released their 32nd 
studio album, New Facts Emerge, and had been fitfully touring in recent months 
when Smith’s health would allow. The band played London’s 100 Club in July, 
while Smith performed from a wheelchair in Wakefield in October."

https://www.theguardian.com/music/2018/jan/24/mark-e-smith-lead-singer-with-the-fall-dies-aged-60

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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[NetBehaviour] Blockchain Imaginaries | Furtherfield Spring Editorial 2018

[marc.garrett via NetBehaviour]

Blockchain Imaginaries | Furtherfield Spring Editorial 2018

Editorial by Ruth Catlow and Marc Garrett

The blockchain is 10 years old and is surrounded with a hype hardly seen since 
the arrival of the Web. We’d like to see more variety in the imaginaries that 
underpin blockchains and the backgrounds of the people involved because 
technologies develop to reflect the values, outlooks and interests of those 
that build them.

Geometries, Moods and Decentralised Cooperations.

This collection of art and blockchain essays, interviews and events, offers a 
wide spread of exploration and critique.

The blockchain is an evocative concept, but progress in ideas of cryptographic 
decentralisation didn’t stop in 2008. It’s helpful for artists to get a sense 
of the plasticity of new technical media. So first we are pleased to share with 
you Blockchain Geometries a guide by Rob Myers to the proliferation of 
blockchain forms, ideas and their practical and imaginative implications.

In Moods of Identification Emily Rosamond writes her response to our second 
DAOWO workshop, Identity Trouble (on the blockchain). She reflects on both 
ongoing attempts to reliably verify identity, and continuing counter-efforts to 
evade such verifications.

Mat Dryhurst and Holly Herndon speak here with Marc Garrett in an interview 
republished from our book with Torque Editions Artists Re:Thinking the 
Blockchain (2017). Mat and Holly convey a sense of excitement about 
developments and opportunities for new forms of decentralised collaboration in 
music.

Finally you can book your place on future events at the DAOWO blockchain 
laboratory and debate series for reinventing the arts. Download the DAOWO 
Resource #1 for key learnings, summaries of presentations, quotes, photographs, 
visualisations, stories and links to videos, audio recordings and much more 
from our first two events about developments in the arts and the trouble with 
Identity.

https://www.furtherfield.org/blockchain-imaginaries/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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Re: [NetBehaviour] To the Lords of Google Earth | Performance | Transmediale 2018

[marc.garrett via NetBehaviour]

Hi Helen & Michael,

Thanks for your positive responses.

And yes Helen, a new up to date version of the True Levellers can definitely 
work.

I have also been thinking about collaborating with people interested in setting 
up off-grid groups, and hacking without technology, and I think it relates to 
the same context as well as contemporary ideas around new forms of Permaculture.

Wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with [ProtonMail](https://protonmail.com) Secure Email.

 Original Message 
On 21 January 2018 9:17 PM, helen varley jamieson  
wrote:

> can we form a furtherfield brach of the True Levellers? :)
>
> On 21.01.2018 17:46, Michael Szpakowski wrote:
>
>> Brilliant! Great stuff Marc!
>>
>> -----------
>> From: marc.garrett via NetBehaviour 
>> [](mailto:netbehaviour@lists.netbehaviour.org)
>> To: NetBehaviour for networked distributed creativity 
>> [](mailto:netbehaviour@lists.netbehaviour.org)
>> Cc: marc.garrett 
>> [](mailto:marc.garr...@protonmail.com)
>> Sent: Sunday, January 21, 2018 2:19 PM
>> Subject: [NetBehaviour] To the Lords of Google Earth | Performance | 
>> Transmediale 2018
>>
>> To the Lords of Google Earth.
>>
>> "Through proprietorial protocols and neoliberal gusto; you have begun to 
>> cut, or that through fear and covetousness, do intend to cut down the woods 
>> and trees that grow upon the commons as well as dominate the networked 
>> cables for your personal gain, and disrupt our collective, social liberty; A 
>> Declaration from the Poor oppressed People of Google Earth and this land." 
>> (Winstanley & Garrett 1649-2018)
>>
>> Marc Garrett performs an updated version of Gerrard Winstanley's 'A 
>> Declaration from the Poor Oppressed People of England' originally published 
>> in 1649.
>>
>> Winstanley was one of the founders of the English group known as the True 
>> Levellers or the Diggers. The group occupied public lands that had been 
>> privatised by enclosures. Garrett proposes that True Levellers or Diggers, 
>> and later the Luddites, were radically innovative, hacktivists in their own 
>> times, and we can still learn from their ideas, intentions and imaginative 
>> maneuvers against top-down domination by neoliberal elites whether it 
>> involves technological and or physical contexts.
>>
>> https://marcgarrett.org/2018/01/21/to-the-lords-of-google-earth/
>>
>> #01 bookmark | Tell It Like It Is: transmediale 2018 Opening Rally (Really)
>> Wed, 31.01.2018 19:00 – 20:30
>> Auditorium Special event - https://2018.transmediale.de/
>>
>> Wishing you well.
>>
>> marc
>>
>> Marc Garrett
>>
>> Co-Founder, Co-Director and main editor of Furtherfield.
>> Art, technology and social change, since 1996
>> [http://www.furtherfield.org](http://www.furtherfield.org/)
>>
>> Furtherfield Gallery & Commons in the park
>> Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
>> Currently writing a PhD at Birkbeck University, London
>> https://birkbeck.academia.edu/MarcGarrett
>> Just published: Artists Re:thinking the Blockchain
>> Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
>> Liverpool Press - http://bit.ly/2x8XlMK
>>
>> Sent with [ProtonMail](https://protonmail.com/) Secure Email.
>>
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>>
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
> --
> helen varley jamieson
> he...@creative-catalyst.com
> http://www.creative-catalyst.com
> http://www.upstage.org.nz
>
> [Magdalena München Saison 2018](http://www.magdalenamuenchen.de)
> 2 Februar - 28 April 2018
> Frauen - Theater - Performance___
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[NetBehaviour] To the Lords of Google Earth | Performance | Transmediale 2018

[marc.garrett via NetBehaviour]

To the Lords of Google Earth.

"Through proprietorial protocols and neoliberal gusto; you have begun to cut, 
or that through fear and covetousness, do intend to cut down the woods and 
trees that grow upon the commons as well as dominate the networked cables for 
your personal gain, and disrupt our collective, social liberty; A Declaration 
from the Poor oppressed People of Google Earth and this land." (Winstanley & 
Garrett 1649-2018)

Marc Garrett performs an updated version of Gerrard Winstanley's 'A Declaration 
from the Poor Oppressed People of England' originally published in 1649.

Winstanley was one of the founders of the English group known as the True 
Levellers or the Diggers. The group occupied public lands that had been 
privatised by enclosures. Garrett proposes that True Levellers or Diggers, and 
later the Luddites, were radically innovative, hacktivists in their own times, 
and we can still learn from their ideas, intentions and imaginative maneuvers 
against top-down domination by neoliberal elites whether it involves 
technological and or physical contexts.

https://marcgarrett.org/2018/01/21/to-the-lords-of-google-earth/

#01 bookmark | Tell It Like It Is: transmediale 2018 Opening Rally (Really)
Wed, 31.01.2018 19:00 – 20:30
Auditorium Special event - https://2018.transmediale.de/

Wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with [ProtonMail](https://protonmail.com) Secure Email.___
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[NetBehaviour] Review of the publication, 'Disobedient Electronics: Protest' by Garnet Hertz.

[marc.garrett via NetBehaviour]

Review on Furtherfield by Verena Hermann of the publication, 'Disobedient 
Electronics: Protest' by Garnet Hertz.

Disobedient Electronics: Protest is a limited edition publishing project that 
highlights confrontational work from industrial designers, electronic artists, 
hackers and makers from 10 countries that disobey conventions. Topics include 
the wage gap between women and men, the objectification of women’s bodies, 
gender stereotypes, wearable electronics as a form of protest, robotic forms of 
protest, counter-government-surveillance and privacy tools, and devices 
designed to improve an understanding of climate change.

http://bit.ly/2mSlwbg

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with [ProtonMail](https://protonmail.com) Secure Email.___
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[NetBehaviour] CALL - Workshop-in-Exposition: Thresholds of the Algorithmic - ALMAT @ BEK

[marc.garrett via NetBehaviour]

CALL - Workshop-in-Exposition: Thresholds of the Algorithmic - ALMAT @ BEK

Call for Applications:
Workshop-in-Exposition: Thresholds of the Algorithmic
Bergen (NO), June 2018.

(please distribute)

Algorithms have been used in music and sound art even before the
emergence of “computer music” in the 1950s, but today we witness an
entire new wave of interest, reflected in festivals, genres,
publications and research projects. It is the very notion of algorithms
that is shifting. They are no longer an abstract formalisation, but
emerge from artistic praxis and experimentation and become entangled in it.

Almat and BEK are happy to announce a call for participation in a
workshop-in-exposition taking place in Bergen, Norway, June 2018. This
will be a part of BEK and Notam’s ongoing series of workshops for
advanced users. It is a hybrid format that places the workshop inside an
exhibition context, where the exposed works and artefacts form the basis
of the workshop’s activity. Instead of “closed works”, what is exposed
to the general public are objects, sounds or installations that are open
to engagement and reconfiguration during the workshop.

Algorithms that Matter (Almat) is an artistic research project funded by
the Austrian Science Fund FWF, PEEK AR 403-GBL, and based at the
Institute of Electronic Music and Acoustics (IEM) in Graz, Austria.
BEK and Notam are centers for innovation and use of technology in music
and the arts in Norway. Both Notam and BEK have a strong focus on
education, and strive to establish new goals and provide new impulses
for current music technologists and artists.

- https://almat.iem.at
- http://www.bek.no
- http://www.notam02.no

- Full text of the call:
  https://almat.iem.at/assets/downloads/almat-bek_call2018.pdf
- Application form:
  https://almat.iem.at/assets/downloads/almat-bek_form2018.pdf

## Theme and Format

Thresholds are locations of transitions, points where one modality
becomes another, where a qualitative change occurs. In physics the point
where an aggregate state changes—the phase transition—is a distinguished
transitional location were the properties of the adjacent states become
evident. Similarly, in this workshop-in-exposition we want to study the
properties of the algorithmic by putting ourselves in threshold
positions and actively shape them. More than merely separating two
sides, one can spend time on a threshold, move along a ridge, performing
a tightrope walk while trying not to fall to either side.

Situated within the Almat artistic research project, this event aims at
bringing together practitioners and researchers in the field of digital
art, sound art and computational aesthetics. The hybrid format of
workshop-in-exposition puts on display works of the participants
pertaining to the theme, and at the same time avails them for
interrogation, discussion and reconfiguration during the week long workshop.

The full call embeds a list of three different ‘thresholds’ from which
the applicants should point out a specific one, that they recognise as
being addressed by their own artistic work. This will act both as a
point for further exploration during the workshop and as a bridge
towards audience perception.

## Application

Please read carefully the call and fill out the form provided at
https://almat.iem.at/call2018.html and send it to al...@iem.at along
with the required accompanying documents.

We aim at a balance of gender and background of the applicants.

Conditions:

- Duration of exhibition: from 08 June to 17 June 2018
- Start date (in situ): 04 June 2018
  (preparation and set up from 04 June to 08 June 2018)
- End date: 17 June 2018
- Applicants must be present during the workshop.
- Workshop fee must be paid by confirmed participants (see form)

**Application deadline: 16 February 2018** (e-mail reception, 24:00 CET)

If you have further questions, please do not hesitate to contact us at
al...@iem.at.

iem.at | kug.ac.at | bek.no | notam02.no | fwf.ac.at___
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Re: [NetBehaviour] Positive AI

[marc.garrett via NetBehaviour]

Hi Lara,

Thanks for your thoughtful post on the list.

We ourselves at Furtherfield are going through some tough changes to deal with 
some of the questions you are answering.

I think you'll be hard pressed to find any disagreement with your questions.

However, as you have expressed -- what to do?

Well, I think this list is great a starting point to pull in some people asking 
similar questions.

Although, I'm not sure how many on here are specifically working with AI. Worth 
finding out I'm sure.

Wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with [ProtonMail](https://protonmail.com) Secure Email.

>  Original Message 
> Subject: [NetBehaviour] Positive AI
> Local Time: 16 January 2018 10:59 AM
> UTC Time: 16 January 2018 10:59
> From: y...@lara-stumpf.de
> To: netbehaviour@lists.netbehaviour.org
>
> Dear NetBehaviour,
>
> I am a design and art student and have been working on my graduation project 
> with the topic Artificial Intelligence. My approach is creating an 
> AI-something to support an everyday activity. However, I am lost. I have done 
> a lot of research and most of the time I am very critical: A lot of power is 
> given to algorithms and them working with statistics creates a big and 
> dangerous mainstream (like those big data algorithms deciding what we see 
> online), some inventions are dangerous (like self-driving cars) and most of 
> the time inventions could be cool, if we ignored the evil people behind them.
>
> But I don’t want to create a critical art object, I want to create positive 
> AI. Something to support us (with a prototype). How could AI support us while 
> not replacing us? As Joseph Weizenbaum states, a computer cannot be human; 
> but right now, all those AI developers try to make a human AI happen. I don’t 
> want deep learning algorithms to analyse movies with their trailers and 
> success statistics in order to find the solution for the perfect trailer in 
> order to replace creativity by mainstream in the future. So, supporting us 
> could work by assisting us… like Siri or Alexa. Maybe I could research an 
> assistant-AI for my graduation presentation? Well, there is hardly anything 
> it could assist me with. I don’t want to have AI help me with my content 
> because I dislike content being build up through statistics. And I want to 
> hold the presentation myself, I don’t want to listen to computers instead of 
> humans. Everything else just feels like small gadgets. But maybe AI might 
> help me by creating ideas? Mixing statistically useful components or, maybe 
> even more interesting, mixing useless components to [create new 
> ideas](http://artbot.space) (http://artbot.space/)? Hm…
>
> My thoughts go on and on. So, what would happen if I thought about the 
> relationship between AI and us? Or maybe AI could help the relationship 
> between humans? But not just like an app, where people are assigned to each 
> other. I don’t know. Would that even really be AI? Or just boring algorithms? 
> Where would we really need AI? Maybe in nature, or at least outside, where 
> the surroundings keep changing all the time so we would at least need some 
> kind of AI for orientation?
>
> Thinking about nature made me think about bees dying. Maybe AI could help us 
> with the environment if we silly humans don’t do it? Maybe I could create a 
> small robot to drive around and do some [guerilla 
> gardening](https://en.wikipedia.org/wiki/Guerrilla_gardening) 
> (https://en.wikipedia.org/wiki/Guerrilla_gardening), like loosing a few seeds 
> in order to have more flowers in cities. What do you think?
>
> Thank you!
>
> Lara___
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[NetBehaviour] Reinventing the Art Lab on the Blockchain. Review by Lucy Sollitt

[marc.garrett via NetBehaviour]

Reinventing the Art Lab on the Blockchain. Review by Lucy Sollitt

Workshop and Panel.

This report is published in partnership with DAOWO, a series that brings 
together artists, musicians, technologists, engineers, and theorists to 
consider how blockchains might be used to enable a critical, sustainable and 
empowered culture. The series is organized by Ruth Catlow at Furtherfield and 
Ben Vickers in collaboration with the Goethe-Institut London and the State 
Machines programme. Its title is inspired by a paper by artist, hacker and 
writer Rob Myers called DAOWO – Decentralised Autonomous Organisation With 
Others.

By Lucy Sollitt

http://rhizome.org/editorial/2018/jan/03/reinventing-the-art-lab-on-the-blockchain/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with [ProtonMail](https://protonmail.com) Secure Email.___
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Re: [NetBehaviour] MoneyLab#4 in London 20 January 2018

[marc.garrett via NetBehaviour]

Hi Tom,

Glad it relates -- I will be contacting you next year some time.

Wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with [ProtonMail](https://protonmail.com) Secure Email.

>  Original Message 
> Subject: Re: [NetBehaviour] MoneyLab#4 in London 20 January 2018
> Local Time: 13 December 2017 3:45 PM
> UTC Time: 13 December 2017 15:45
> From: t...@theanthillsocial.co.uk
> To: netbehaviour@lists.netbehaviour.org
>
> Thanks for sending the Mark.
> looks great & right up my street.
> Tom
>
> On Wed, 13 Dec 2017, at 03:17 PM, marc.garrett via NetBehaviour wrote:
>
>> MoneyLab: Art, Culture and Financial Activism
>>
>> Saturday 20 January 2018
>> 10.00-18.00
>>
>> Somerset House
>>
>> London
>>
>> Full day £15.00/ £12.00 conc
>>
>> More info - http://networkcultures.org/moneylab/events/moneylab-4
>>
>> Facebook - https://www.facebook.com/events/122385678449918/
>> Tickets - 
>> https://www.eventbrite.co.uk/e/moneylab-art-culture-and-financial-activism-tickets-38950373616
>>
>> A day-long programme of workshops, discussions and artistic experimentation 
>> exploring the relationship between financial technologies, artistic practice 
>> and contemporary culture.
>> MoneyLab is a programme of critical research and artistic intervention that 
>> explores the connections between contemporary art, financial activism and 
>> digital culture.
>>
>> Previously organised by the Amsterdam-based Institute of Network Cultures, 
>> this fourth edition of MoneyLab brings together researchers, artists, 
>> designers, and cultural entrepreneurs thinking beyond money.
>>
>> Join panels, talks and workshops which inspect the borderlands between 
>> critical art-making, decentralised financial technologies, collective 
>> organisation, and civil disobedience.
>>
>> SCHEDULE
>>
>> 10:00
>> INTRODUCTION
>> WithGeert Lovinkfrom Institute of Network Cultures andMartin Zeilinger from 
>> Anglia Ruskin University.
>>
>> 10:30
>> WORKSHOPS
>>
>> Offshore Investigation Vehicle with The Demystification Committee
>>
>> Half of the existing global wealth has been calculated to be located 
>> offshore, stacked in tax havens. But where is offshore? What does it mean to 
>> ‘go’ or ‘become’ offshore? Can we visit it? The Demystification Committee 
>> have infiltrated a number of tax havens and set up an international 
>> corporate structure to investigate offshore finance. At the head of this 
>> corporate structure is Empire Management Limited, a UK Private Limited 
>> Company that invites members of the public to become investors in their 
>> self-initiated offshore tax evasion scheme. Join in and explore the tactics 
>> Empire Management use to abuse its financial position offshore and find out 
>> about the murky world of offshore investment practices.
>>
>> Total Liquidity Now: Trading in the augmented landscape of Patternist
>>
>> PATTERNIST is a location-based, augmented reality demo game for urban 
>> research, sci-fi visions, and alternative economies. It speculates on the 
>> appearance of an alien planet hovering above our own, whose augmented 
>> terrain becomes visible through the lens of a mobile and desktop game.
>>
>> As part of this workshop participants are invited to develop the game’s 
>> trading mechanisms through role play and participatory exercises. 
>> Facilitating and experimenting with a multi-directional, barter-based 
>> trading system, the group will explore the alien geography of the 
>> PATTERNIST-3 planet. The workshop will close with a discussion on designing 
>> incentives in alternative economies, autonomous currencies, and market-based 
>> decision making.
>>
>> 12:00
>>
>> DISCUSSION
>>
>> Playing to Lose: Gameplay in Art and Finance
>>
>> Artists are increasingly adopting game design as a methodology to 
>> interrogate and subvert complex financial and political systems. From 
>> simulations of fictional companies to live action role play games, a diverse 
>> range of situated methods a

[NetBehaviour] MoneyLab#4 in London 20 January 2018

[marc.garrett via NetBehaviour]

MoneyLab: Art, Culture and Financial Activism

Saturday 20 January 2018
10.00-18.00

Somerset House

London

Full day £15.00/ £12.00 conc

More info - http://networkcultures.org/moneylab/events/moneylab-4

Facebook - https://www.facebook.com/events/122385678449918/
Tickets - 
https://www.eventbrite.co.uk/e/moneylab-art-culture-and-financial-activism-tickets-38950373616

A day-long programme of workshops, discussions and artistic experimentation 
exploring the relationship between financial technologies, artistic practice 
and contemporary culture.
MoneyLab is a programme of critical research and artistic intervention that 
explores the connections between contemporary art, financial activism and 
digital culture.

Previously organised by the Amsterdam-based Institute of Network Cultures, this 
fourth edition of MoneyLab brings together researchers, artists, designers, and 
cultural entrepreneurs thinking beyond money.

Join panels, talks and workshops which inspect the borderlands between critical 
art-making, decentralised financial technologies, collective organisation, and 
civil disobedience.

SCHEDULE

10:00
INTRODUCTION
WithGeert Lovinkfrom Institute of Network Cultures andMartin Zeilinger from 
Anglia Ruskin University.

10:30
WORKSHOPS

Offshore Investigation Vehicle with The Demystification Committee

Half of the existing global wealth has been calculated to be located offshore, 
stacked in tax havens. But where is offshore? What does it mean to ‘go’ or 
‘become’ offshore? Can we visit it? The Demystification Committee have 
infiltrated a number of tax havens and set up an international corporate 
structure to investigate offshore finance. At the head of this corporate 
structure is Empire Management Limited, a UK Private Limited Company that 
invites members of the public to become investors in their self-initiated 
offshore tax evasion scheme. Join in and explore the tactics Empire Management 
use to abuse its financial position offshore and find out about the murky world 
of offshore investment practices.

Total Liquidity Now: Trading in the augmented landscape of Patternist

PATTERNIST is a location-based, augmented reality demo game for urban research, 
sci-fi visions, and alternative economies. It speculates on the appearance of 
an alien planet hovering above our own, whose augmented terrain becomes visible 
through the lens of a mobile and desktop game.

As part of this workshop participants are invited to develop the game’s trading 
mechanisms through role play and participatory exercises. Facilitating and 
experimenting with a multi-directional, barter-based trading system, the group 
will explore the alien geography of the PATTERNIST-3 planet. The workshop will 
close with a discussion on designing incentives in alternative economies, 
autonomous currencies, and market-based decision making.

12:00

DISCUSSION

Playing to Lose: Gameplay in Art and Finance

Artists are increasingly adopting game design as a methodology to interrogate 
and subvert complex financial and political systems. From simulations of 
fictional companies to live action role play games, a diverse range of situated 
methods are emerging to expose social and political infrastructures. This 
discussion will explore to what effects gamification and digital simulation are 
useful for organising socio-political activism. Is responsible, 
community-oriented life in contemporary society a ‘skill’ that can be learned 
in a game-like environment? If the performance of financial investments can be 
simulated, can we also simulate the disruption of capitalist systems? How can 
such simulation become reality?

Chaired by journalist and campaigner Brett Scott with games designerAndy 
Morales Coto, developerKei Kreutler, researcherStephanie Polsky, andThe 
Demystification Committee.

13:30

BREAK

14:15
WORKSHOPS

Earth’s Cooperative for Economic Fairness with FairCoop

FairCoop will present the world’s first democratically organised and 
eco-friendly crypto-currency, FairCoin. The latest FairCoin uses a co-operative 
model for distributing crypto-currencies and aims to create a digital currency 
for a new global economic system. Workshop participants will learn about the 
development of FairCoin, from the technical elements to the political and 
social motivations of creating an energy saving and cooperative blockchain. 
Find out how to setup a FairCoop in your region and how you could join a 
decentralized network to reduce economic inequality and create a global wealth 
of abundance for the commons.

Data Workers Union with [Institute of Human 
Obsolescence](http://speculative.capital/)

In order to shift the imbalance between citizens,surveillance capitalism, and 
the big data industry, it should be understand that we are not merely users of 
free online services, but the unpaid workers of tech companies.The Institute of 
Human Obsolescence (IoHO) advocates for recognising the production of data as a 
form of labour.Through ga

Re: [NetBehaviour] My Article in 2600, The Hacker Quarterly, Autumn 2017, 34/3

[marc.garrett via NetBehaviour]

Hi Alan,

Will buy ;-)

Thanks for sharing.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with [ProtonMail](https://protonmail.com) Secure Email.

>  Original Message 
> Subject: [NetBehaviour] My Article in 2600, The Hacker Quarterly, Autumn 
> 2017, 34/3
> Local Time: 12 December 2017 2:11 AM
> UTC Time: 12 December 2017 02:11
> From: sondh...@panix.com
> To: NetBehaviour for networked distributed creativity 
> 
>
> My Article in 2600, The Hacker Quarterly, Autumn 2017, 34/3
>
> I'm really happy that my (short) article "Splatter" appears in
> the latest issue of 2600! I'm particularly glad that this is a
> journal I have a huge amount of respect for, and one which
> reaches a wide audience. I've been reading it for years. I've
> been struggling with the intersection of hacking and politics,
> and I sent the article in some time ago; I just had an email
> yesterday that it's been published. You can buy the magazine in
> the U.S. at Barnes and Noble, and online at
> https://store.2600.com/collections/2010-2015/products/autumn-2017
> Please buy a copy, support the magazine of course!
>
> - Alan
>
> ---
>
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour___
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Re: [NetBehaviour] LINGER - Azure's new song!

[marc.garrett via NetBehaviour]

Thanks Alan,

very enjoyable. Nothing like a bit of healthy and playful, discordant 
existentialism done well ;-)

Wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with [ProtonMail](https://protonmail.com) Secure Email.

>  Original Message 
> Subject: [NetBehaviour] LINGER - Azure's new song!
> Local Time: 6 December 2017 4:31 AM
> UTC Time: 6 December 2017 04:31
> From: sondh...@panix.com
> To: NetBehaviour for networked distributed creativity 
> 
>
> LINGER - Azure's new song!
>
> http://www.alansondheim.org/ashfield067.jpg
> http://www.alansondheim.org/linger.mp3 (final version)
> http://www.alansondheim.org/ashfield068.jpg
> http://www.alansondheim.org/linger1.mp3 (1st version)
> http://www.alansondheim.org/ashfield073.jpg
>
> Azure Carter, words, song, vocal
> Alan Sondheim, words, qin
> and the rain
>
> Lyrics -
>
> If I die tomorrow
> Will there be much sorrow
> Will there be much horror
> If I die tomorrow
>
> Shall I give everything away
> If not tomorrow, then today?
> Down by the courtyard
> Its death I await
>
> If I die today
> Will there be much play
> Will anybody pray
> If I die today
>
> Shall I give everything away
> If not tomorrow, then today?
> Whatever the weather
> Its death I await
>
> If I have died before
> I will wait at Heavens door
> I will wait and more
> If I have died before
>
> Shall I give everything away
> If not tomorrow, then today?
> On a grey dull day
> Its death I await
>
> If I have died at all
> I will wait upon your call
> I will not rise or fall
> If I have died at all
>
> Shall I give everything away
> If not tomorrow, then today?
> That last linger
> Its death I await
>
> +++
> ---
>
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour___
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[NetBehaviour] State Machines Open Call for a new commissioned artistic project

[marc.garrett via NetBehaviour]

Open Call for works

Deadline: 31/01/2018

State Machines is a programme of activities devoted to the investigation of new 
relationships between states, citizens and the stateless made possible by 
emerging technologies. Focussing on how such technologies impact identity and 
citizenship, digital labour and finance, the project joins five experienced 
partners – [Aksioma](http://aksioma.org/) (Slovenia), [Drugo 
more](http://drugo-more.hr/) (Croatia), 
[Furtherfield](https://www.furtherfield.org/) (UK), [Institute of Network 
Cultures](http://networkcultures.org/) (Netherlands) and 
[NeMe](http://www.neme.org/) (Cyprus) together with a range of artists, 
curators, theorists and audiences.

[www.statemachines.eu](http://www.statemachines.eu/)

Every time a smartphone powers up, their user is tied inextricably into data, 
laws and flowing bytes to different countries. Their every personal expression 
is framed and mediated by digital platforms which now include those operating 
new kinds of currencies, financial exchange, and labour relations that bypass 
corporations and governments.

Meanwhile these same technologies increase governmental powers of surveillance, 
allow corporations to extract ever more complex working arrangements, and, 
although seemingly the epitome of globalization, they do little to slow the 
construction of actual walls along actual borders.

We ask how might the digital subjects of today become active, engaged, and 
effective digital citizens of tomorrow?

State Machines now launches an open call for a new commissioned artistic 
project.

WHAT KIND OF PROJECT?

We are interested in works that explore shifts in agency towards individuals, 
groups and commons from nation states and private companies. We invite 
proposals that draw on first-hand experiences in:

– efforts and actions that resist new enclosures and preserve mobilities, 
freedom of assembly and other hard-won rights

– unintended impacts of digital flows on physical bodies, places and 
infrastructure

– shifting techniques for controls and flows of information and finance by 
governments, private companies and individuals;

– public deliberation and free speech in social media – algorithmic and human 
corruption and its counterforces;

– new tools and data for wrangling the personal and political impacts of cloud 
computing

The call is open to artists, technologists, activists, inventors and 
individuals, groups and hybrid human- artificial intelligence collaborations.

We are interested in all art forms and actions that can be encountered and 
experienced across networks, online and in physical exhibition. We welcome 
diverse viewpoints, experimental and playful approaches.

HOW WE WILL SUPPORT THE PROJECT

1. State Machines will support the production of the selected proposal with 
5.000 € towards fees and production costs.

2. State Machines will assist in all phases of the production process.

3. The final project will be exhibited in at least two offline and one online 
exhibition during 2018 & 2019.

4. Depending on the nature of the project, State Machines will be excited to 
present and distribute the new project through partners’ channels and 
communication networks. Which a diverse range of organisations, from museums to 
online galleries and project spaces to festivals, with a range of specialisms 
across production, participation, engagement, critical thinking and publication.

CONDITIONS

– This call is open to individuals or groups working across any artforms and/or 
technologies in Europe.

– The proposed project can be online and/or offline. If online only, please 
consider how it could be translated (i.e. shown, exhibited, narrated) in 
physical space.

– Applicants should either have an established background in their respective 
fields and/or explain how this opportunity will assist the development of a new 
project.

– We especially welcome proposals for new work. Yet, we will be happy to help 
in the extension of existing projects if our contribution will be key to 
develop them towards a new direction or critically enhance them so they will 
achieve a new dimension.

DEADLINE & HOW TO APPLY

Applications must be received by 23:59 (CET) on Wednesday 31 January 2018.

Complete application must include the following:

1. Resume – including contact information, maximum 2 A4 pages

2. Project Proposal – detailing the project concept, maximum 2 A4 pages

3. Project Budget proposal – with a breakdown of how you will spend the €5000 
budget, maximum 1 A4 page

4. Support Material – including examples of previous work, any relevant urls, 
any visuals (data flow, sketches, timeline, schematics, etc.) that will help us 
better understand the proposal and your practice.

Please send ONE .pdf format including materials 1-4 above to 
marc...@aksioma.org.

For >5MB attachments, please use file transfer services like Wetransfer or 
provide a link to your own server space.

Contact:

Marcela Okretič

Aksioma | Inst

[NetBehaviour] Tell A Mouse Is Back!

[marc.garrett via NetBehaviour]

Tell A Mouse Web ring

Since 1997 - 2017
International surveys & more... Participative Collaborative...
Between Happening and Ephemeral art

With:
With Annie Abrahams Pol Guezennec Giuliana Cunéaz Atom Ic Elroy Etienne 
Choubard Cendres Lavy Marc Garrett Marc Veyrat Emanuel Pimenta Gabriel V. 
Soucheyre Alan Sondheim Javier A. Bedrina Philip Meersman Valter Luca Signorile 
Luc Fierens Regina Pinto Xavier Ribot Antonio Sassu Dirk Vekemans John-Paul 
Bichard Alberto Guedea Zamora Mez Breeze Mac Dunlop Franck Ancel Coco Gordon 
David Guez Ivan Régina Reynald Drouhin Wilfried Agricola De Cologne Jean Fürst 
Dominique Van de Vorst Jeremy Hight Carla Della Beffa Caterina Davinio ThTh Du 
Dix-neuvième Arrondissement Marc Jacobs Teo Spiller Fast Forward Federico 
Bucalossi James G. Barrett Guillaume DimancheRoberto Echen Alberto Sordi Bruce 
Gremo Stephane Troiscarres Pierre Robert Silvio De Gracia Philippe Boisnard an 
d many many others...

http://www.tamara-lai.be/tell-a-mouse/index.htm

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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[NetBehaviour] Autoethnographic PhDs?

[marc.garrett via NetBehaviour]

Hi there...

I'm interested in interviewing anyone who has written (or currently writing) an 
Autoethnographic PhD in (new) media arts. I am especially interested in 
feminist autoethnographic PhDs and community based, grass roots org 
Autoethnographic PhDs. If so, please contact me privately on and a warm thanks 
in advance ;-)

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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Re: [NetBehaviour] In conversation with Alan Emtage

[marc.garrett via NetBehaviour]

Hi Jim,

thanks for sharing. It sounds great.. M

Will try and go :-)

Marc

Sent from ProtonMail mobile

 Original Message 
On 27 Nov 2017 13:26, Jim Boulton via NetBehaviour wrote:

> Hello all,
>
> I'm interviewing Alan Emtage tomorrow evening, the inventor of the
> search engine. It's part of 64 Bits, an exhibition of Web 1.0 also
> featuring the work of Susan Kare, Ken Knowlton, Eboy and others.
>
> 82 Baker Street, doors open at 6pm. Sign up at the following link:
>
> https://www.eventbrite.co.uk/e/jim-boulton-in-conversation-with-alan-emtage-part-of-64-bits-bytesize-tickets-39952827984
>
> Best, Jim Boulton
>
> @jim_boulton
> www.64bits.co.uk
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour___
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[NetBehaviour] Critical Approaches to Creating Artists' Identities Online - presentation & workshop | Tomorrow

[marc.garrett via NetBehaviour]

I will be presenting ‘Critical Approaches to Creating Artists'  Identities 
Online' this Saturday 25 Nov at New Contemporaries event |

IRL to URL — 24 & 25 November | Baltic, Newcastle - http://bit.ly/2gMfiYe

Come & say hi if you're there ;-)

wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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[NetBehaviour] Reclaiming the Corporate Owned Self

[marc.garrett via NetBehaviour]

The American born artist Jennifer Lyn Morone registered herself as a 
corporation in 2014, founding Jennifer Lyn Morone™ Inc. As the founder, CEO, 
owner, shareholder and product of her own company, she sells, leases, rents or 
invests her personal data for her own profit. She has commercialised her 
hormones and diamonds made from her hair, advertising them through satirical 
videos.

In the Netopticon, the panopticon in which we live using platforms such as 
Facebook and Google, our data is vacuumed up to generate profits in an extreme 
form of capitalism.

Artist and curator Marc Garrett (www.furtherfield.org) says that Jennifer Lyn 
Morone’s project turns the tables by shining the torch back onto the data 
hunters to study their behaviours and clarify the conditions of the data hunt, 
a dystopian act of genuine survival similar to what punks did when they picked 
up their instruments to forge a new era of social change, where outsiders found 
a voice for free expression.

http://www.statemachines.eu/books/reclaiming-the-corporate-owned-self/

Published by: Aksioma – Institute for Contemporary Art, Ljubljana, 2017

Part of the State Machines project – http://www.statemachines.eu/

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

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