Art and Technology

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At the end of the 20th century, hacking was bleeding edge. When the ideas, practices and pranks of this experimental niche of technophiles attracted the attention of a handful of activists in Italy, they understood that information and communication were what would give shape and voice to social, political, and cultural processes in the near future. +KAOS is a cut and paste of interviews, like a documentary film transposed on paper. It describes the peculiar relationship between hacktivism and activism, in Italy and beyond, highlighting the importance of maintaining digital infrastructures. While this may not sound as glamorous as sneaking into ...
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Publisheronestar press2014
In Splendide Hotel – 1887 there is one sole room and it is transparent, containing apparitions of all literary, musical, scientific and abstract sorts. From an internal monologue to quantum physics to the gramophone and bioluminescence, within this little book there is a collection of nearly all the references serving to rebuild this hotel within the Cristal Palace to reveal 1887 as the birth year of our universe.
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The time clock is a device for the material worker. It ticks away, minute by minute, hour by hour over the course of each and every day. In the olden days the work completed was equal to the material proof at the end of eight hours. Today, the immaterial worker does not have the same symbiotic relationship with the time clock. The time clock for the immaterial worker is irrelevant because they work continually. And they work on what is most expected of them: the constant flow of ideas. Their time is not measured in concrete things. It is measured ...
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PublisherAsia Art Archive2017
Hong Kong–based artist Samson Young moved through various locations in and around AAA by way of a roving sound station— doubling as a bookmobile and deejay booth—to generate a series of public broadcasts. His project AAAFM99.3 invoked classic radio programmes with news announcements, interview segments, and commercials incorporating ambient noise sourced from AAA’s audio collection.
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PublisherGauss PDF2011
MacBook [White] circa 2006 Finder Dashboard Firefox — Tabs Open: Gmail—Inbox; Google Reader; Tumblr; Amazon—Amazon.com: The Body Multiple: Ontology in Medical Practice (Science and Cultural Theory) (9780822329176): Annemarie Mol, Barbara Herrnstein Smith, E. Roy Weintraub: Books iTunes — Now Playing: Anne Laplantine, Themes Bean — Documents: Untitled; Untitled 2 Trash — Contents: Picture 3.png; TESTING WATER.pdf
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For this outing of BDP’s Empathy When, we were delighted to be joined on the terrace of Tropez by Adam Fearon. Get ready to travel from Berlin to Frankfurt, Cairo to Baghdad, Adam reads his incredible essay that goes below the surface of the Fayum mummy portraits that date from the 1st century BC onwards, and how our contemporary self-expression is more tactile that our flat screens may suggest.
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Over the first nine months and thirty episodes of this little podcast we have heard the stories of some incredible guests: artists, curators, collectors, conservators, and more – and the nuggets of wisdom that they have shared along the way have been truly invaluable. This week we’re trying something a little bit new, and we’re calling it The Advice Episode – compiled on this week’s show are all of the moments of our guests sharing hard earned expertise and advice. Featuring in order of appearance:  Rafael Lozano-Hemmer, Magda Sawon, Lynn Hershamn Leeson, Cy X, Tina Rivers Ryan, American Artist, Gary ...
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Aesthetic Programming explores the technical as well as cultural imaginaries of programming from its insides. It follows the principle that the growing importance of software requires a new kind of cultural thinking — and curriculum — that can account for, and with which to better understand the politics and aesthetics of algorithmic procedures, data processing and abstraction. It takes a particular interest in power relations that are relatively under-acknowledged in technical subjects, concerning class and capitalism, gender and sexuality, as well as race and the legacies of colonialism. This is not only related to the politics of representation but also nonrepresentation: ...
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PublisherLink Editions2016
AFK – an acronym for “away of keyboard” widely used online – is an anthology of texts written for catalogues and exhibition brochures along the last five years, featuring twelve texts about eleven artists and an artist duo: Rosa Menkman, Jon Rafman, Gazira Babeli, Martin Kohout, Maurizio Cattelan, Enrico Boccioletti, Constant Dullaart, Jill Magid, Aram Bartholl, Emilie Brout & Maxime Marion, Evan Roth and Addie Wagenknecht. In different ways, these artists experienced the impact of digital means of production and dissemination, they experimented with them, they thought about them, and all this is reflected in their work. As Peter Sunde, the co-founder of the ...
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PublisherNew Models2022
Cultural savants Shumon Basar (The Extreme Self & The Age of Earthquakes) and Dean Kissick (NY editor of Spike Art Magazine) join the show during Berlin Art Week for a sprawling, late-night convo on communication and creative production in year 2022. Along the way, we note the accelerating pace of decades, revisit Marshall McLuhan’s 1967 mass-media glow-up, log a veritable dictionary of neologisms, consider whether the art market as we know is a historically bound concept, and ask if we’ve possibly reached the end of clear-cut, market-ready “generations.” Also: mid-ification, zentrism, eNFT portals, and adult drainers.
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Publisheronestar press2005
I installed an electric cable between my flat and my studio in the academy of fine arts in Vienna. The distance was 1200 metres, it was plugged in the academy. The book follows the cable page by page starting from inside my flat.
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This week on the show we are diving back into exploring what it looks like to collect time-based media art outside of institutions, by chatting with another collector who has developed a real passionate focus on time-based media art. Alain Servais has been collecting digital art for many many years, and not only lives among the work in his home in Brussels, but also operates a loft space specifically dedicated to sharing the collection with the public and serving as an experimental space for guest curators to continually reinvent how Alain’s collection is seen. Just a heads up – this ...

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