Don 18

How we do things: `Making Do and Getting By`
Thursday July 02nd 2020, 9:09 am
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Last fall I saw a presentation of Richard Wenworth and I just wanted to ask if you think that small interventions, small adjustments and small bricollage are possible and allowed in the digital World. Where do we let our subconcious small interventions happen in a digital world, where are we individuals in a world with prefabricated and coordinated solutions?

And are we allowed to express our self?

And if you are still interested in the original image I wanted to post, it is the one with the red chair on the following site:

Enjoy 🙂

Rectory Farm ,London Vogt Landscapearchitects
Thursday June 04th 2020, 9:02 pm
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When we had the discussion about the combination of the “amazon-landscapes” with natural landscapes, this idea is to me very surreal. Nature is in my opinion much more complex and in contrast to an environment organised by computing not controllable. Well, Louis XIV would say something different but its a huge effort whichtoday no one can effort anymore.

But then this project came to my mind, which i once saw on a presentation of Vogt Landscapearchitects. It shows on one side how such an environment can be combined with nature but on the other hand also, that not everything is possible. Trees can only be planted in special zones, where the earth is deeper and the support stronger. To me the idea of a huge garden on top of a concrete surface is not ideal, but i want to share this project witch you to show that there are these ideas existing in reality.

The land is currently not really used and closed to the public. Under the earth there lies a huge amount of gravel and sand that should be used as building materials for London. So the idea is to put aside the top earth drill deep holes to cast pile foundations cover these with a huge concrete slab which will be covered again by the earth. On top there will grow a park while underneath gravel gets removed an huge halls prevent space for warehouses like amazon. Also near by there is the highway and the airport Heathrow.

Allison Parrish
Thursday June 04th 2020, 8:32 pm
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As stated on the website:

” I do research on and make art about language and how it’s used and arranged, especially in the context of computation and the Internet. “

Her most recent work is called “Compasses”

“Compasses” is a chapbook recently published in Andreas Bülhoff’s sync series. It consists of poems produced with the help of a machine learning model I designed as the next step in my exploration of phonetic similarity. This model has two parts: a “speller,” which spells words based on how they sound, and a “sounder-out,” which sounds out words based on how they’re spelled. In the process of sounding out a word, the “sounder-out” produces a fixed-length numerical vector, known as a “hidden state,” which is essentially a condensed representation of a word’s phonetics. The “speller” can then use the phonetic information contained in this hidden state to produce a plausible spelling of the word. In “Compasses,” I used this model to generate new imaginary words that exist in the negative phonetic spaces between the phonetic hidden states corresponding to names of members of well-known quartets.”

Beyond Resolution
Thursday June 04th 2020, 8:11 pm
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As stated on the website:

“Menkman’s work focuses on noise artifacts that result from accidents in both analogue and digital media (such as glitch and encoding and feedback artifacts). The resulting artifacts of these accidents can facilitate an important insight into the otherwise obscure alchemy of standardization via resolutions.

The standardization of resolutions is a process that generally imposes efficiency, order and functionality on our technologies. It does not just involve the creation of protocols and solutions, but also entails the obfuscation of compromises and the black-boxing of alternative possibilities, which are as a result in danger of staying forever unseen or even forgotten.

Through her research, which is both practice based and theoretical, she uncovers these anti-utopic, lost and unseen or simply “too good to be implemented” resolutions — to produce new ways to use and perceive through and with our technologies. “

DEEP DOWN TIDAL, Tabita Rezaire
Thursday June 04th 2020, 5:31 pm
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I felt today the need to share the work of Tabita Rezaire on this platform. . Navigating architectures of power, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality and the protocols of energetic misalignments that affect the songs of our body-mind-spirits.
Working for the decolonisation of internet, against its exploitative, discriminatory, classist, patriarchal, racist, homophobic, coercive and manipulative aspects.

In Deep down Tidal, she highlights the troubling fact that the infrastructure of submarine fibre optic cables that carries and transfers our digital data are layered onto colonial shipping routes.
“Deep Down Tidal navigates the ocean as a graveyard for Black knowledge and technologies. From Atlantis, to the “Middle passage”, or refuge seekers presently drowning in the Mediterranean, the ocean abyss carries pains, lost histories and memories while simultaneously providing the global infrastructure for our current telecommunications. Could the violence of the Internet—inflicted upon Africa and more generally Black people lie in its physical architecture?
Research suggests that water has the ability to memorize and copy information, disseminating it through its streams. What data is our world’s water holding? Beyond trauma, water keeps myriads of deep secrets, from its debated origin, its mysterious sea life of mermaids, water deities, and serpent gods, to the aquatic ape theory. Deep Down Tidal enquires the complex cosmological, spiritual, political and technological entangled narratives sprung from water as an interface to understand the legacies of colonialism. “

Thursday June 04th 2020, 5:01 pm
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Quarantine due to COVID opened up a new field for digital entertainment and expression.

Fortnite, the most-played video game in history, and Travis Scott, one of the most talented rappers of his generation, have pushed the boundaries of the virtual experience by associating for a live concert on the online world of the Fortnite game, offering a glimpse of the future of entertainment in its most immersive form.

That was on April 24th. It’s 1am in the morning in Switzerland and you’re hanging out on Fortnite among its 27 million players who are wandering around in its online mode. The virtual sun goes down and suddenly a star crashes, revealing a gigantic Travis Scott avatar singing and dancing to his most iconic tunes. The digital universe is superimposed on the atmosphere of the concert. With each music, the universe changes drastically: a devastating Armageddon, a psychedelic atmosphere worthy of a rave party, a world overwhelmed by the waves… To get the best angle of view, you run, fly, swim in an ultra-immersive world. Would this ten-minute technical feat offer a foretaste of the future of entertainment in a confined world?

This success is not limited to a simple period of confinement but opens a new playground for the future.
Above all, it is the fruit of a daring collaboration between two parties with very different know-how. On the one hand, Travis Scott, one of the most polar American rappers of the decade, and on the other, Epic Games, the studio behind Fortnite. The latter were able to find a substitute for physical events by taking advantage of the unique possibilities of the virtual world. Not only do virtual concerts allow millions of people to experience something that extends borders, but they also offer endless creative possibilities for audience engagement and participation. Indeed, the immersive nature of the game has allowed each player to experience the event in their own way without suffering the passive effect of a cinematic.

The power of the event also relies on the use of new media as a means of reproducing the physical experience. The whole world is now a stage and the increasingly blurred boundaries between the online and offline worlds offer the possibility of creating powerful entertainment that could not have been imagined yesterday.

The Grand Bizarre
Thursday June 04th 2020, 4:23 pm
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I want to share a nice film I found on (free for students). It’s a quick and sensual documentary that shows the diversity and complexity of fabrics and patterns throughout the world.

The film is described as followed:
A postcard from an imploded society. Bringing mundane objects to life to interpret place through materials, the film transcribes an experience of pattern, labor and alien(nation)(s). A pattern parade in pop music pairs figure and landscape to trip through the topologies of codification. Following components, systems, and samples in a collage of textiles, tourism, language, and music, the film investigates recurring motifs and how their metamorphoses function within a global economy.

The film was made by Jodie Mack on a five years traveling trip around the globe.

Jodie Mack on the film:

Invisible labor is what it’s all about. What you encounter with the textiles is like, here are two textiles. This one took five years to make with a family of fourteen and this one was made by printing out the pattern from a computer because they stole the design and this, that, and the other. I have them both in my hands, and I can’t tell the difference between them. There’s all this invisible labor involved in all the products that we’re consuming all the time, all the films we are making.

Ramon Enrich at the Antonia Jannone Gallery
Thursday June 04th 2020, 1:32 pm
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The gallery resumes its activity by exhibiting the work of the Catalan artist Ramon Enrich. The exhibition presents a selection of paintings and small sculptures in which acrylic, stone and iron give life to metaphysical realities with essential and rigorous lines. Through a silent dialogue between architecture and landscape in which human presence is not contemplated, Ramon Enrich’s work tells us of a suspended time that is more current than ever.

“In the new paintings by Ramon Enrich, in his world of Cartesian greens, in his painting of mathematical fields and geometric trees, in the company of his shadows and even in the truce of his voids there are now stones that challenge order”. (Anatxu Zabalbeascoa)

Study, ingenuity and expertise are accompanied by ethereal reflections on the beauty of everyday life, which carefully observe the poetry hidden in simplicity. With a methodical and dreamy gaze at the same time, Ramon Enrich builds narrations that accompany the discovery of new realities: his “mini worlds”.

«The mini worlds that the artist builds in his works refer to a time that is not so much that of the frenetic and spectacular contemporaneity that surrounds us, but to a time that belongs to a sedimented culture, to a calm re-essence and to an almost vision lyrical, ideal. Shapes that come together in places and that show a new possibility, a new miniaturized world where what matters is the balance that only the artistic project can achieve “.

Material speculation
Thursday June 04th 2020, 1:29 pm
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Material speculation: ISIS (2015-2016) , Morehshin Allahyari

In this project Morehshin Allahyari used 3D printing technology as a tool for reconstructing selected artifacts destroyed by ISIS in 2015 seen in a series of YouTube videos. 

“The series goes beyond metaphoric gestures and digital and material forms of the artifacts by including a flash drive and a memory card inside the body of each 3D-printed object. Like time capsules, each object is sealed (though accessible) for future civilizations. The information in these flash drives includes images, maps, PDF files, and videos gathered on the artifacts and sites that were destroyed. Thus ​Material Speculation: ISIS​ creates a practical and political possibility for artifact archival, while also proposing 3D printing technology as a tool for resistance and documentation. 
Material Speculation inspects Petropolitical and poetic relationships between 3D Printing, Plastic, Oil, Technocapitalism and Jihad.”

Art or control over life?
Thursday June 04th 2020, 12:29 pm
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Eduardo Kac, a Brazilian artist, introduced the concept of Bio-Art in 1997 with the work “Time Capsule”, in which a microchip containing analogue photographs, part of his childhood memories, were introduced in his body and then broadcast in Internet, open to all users. That way the skin of the human body seized to be a protective layer and all his intimacy was invaded and exposed.

This intersection between art, biology and technology was further explored in “Genesis”, in which the Bible was translated to a DNA code and then put into bacterias. The phrase “Let man have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moves upon the earth” in a kind of metalanguage, was not only materialized in living beings, but changed in it, reinforcing the power we humans created by technology.

That achieves another level with the creation of a new kind of living in the work “GFP Bunny”: a fluorescent rabbit. The art then evolves from being an object and becomes a subject, which demands new kind of responsibilities.

The responsibility of users over a living being can also be seen in the work “Teleporting an Unknown State”, in which the light from images of the skies from cities all over the world, of all the people who used the app, was enabling a plant in a dark room to grow, to photosynthesize.

renderlands by liam young
Thursday June 04th 2020, 8:22 am
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Liam Young is an artist and speculative architect of utopian 360° worlds. He is operating between design, fiction and futures. In Renderlands, a video installation from 2017, he is overlaying two worlds. The reality of a render farm in India where the protagonist of the film is working and his escapes to his own virtual world that he is creating. He is shifting between his seemingly unsatisfactory life in his office and uncharming apartment and a perfect rendered world where he is going for a walk with his new model-like girlfriend in kitschy sunsets. The camera drifts between real footage captured on location and animated cityscapes collaged together from leftover 3D files that have been scavenged from studio hard drives showing Los Angeles. In his work he is questioning our relation to virtual realities and intelligence, showing its potentials and fears and dangers of feelings far from reality.

I have been discovering his work through an exhibition at Somerset house in London 24/7: A wake-up call for our non-stop world, curated by Sarah Cook. Starting point for the exhibition has been the book 24/7 by art historian and essayist Jonathan Crary describing our shared condition of unrest. We’ve come to live in a culture in which we consume content via the screen at all hours of the day and night and our every interaction is tracked, mined and predicted. Going back up until one of the first painting showing electric light by Joseph Wright of Derby (Arkwright’s Cotton Mills by Night) from 1790, to virtual video installation, the curator transmits the passage to a sleepless society.

Film Still, Renderlands, Liam Young, 2017
Film Still, Renderlands, Liam Young, 2017
Film Still, Renderlands, Liam Young, 2017

IKEA: Bridging the Imagination Gap With AR
Wednesday June 03rd 2020, 11:00 pm
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Article link:

Recently, I’ve come across this article about the App created for IKEA that permits all their goods to be positioned in a real environment, for example inside our houses. This happens through the screen of our phone by using our cameras. 

The App was created in 2017 so it is not a brand-new invention and – while reading – for me was not even ultra surprising because today we are getting more and more used to these kind of digital devices. 

I have decided to share with you this article in order to make a consideration about the advent of the digital in everyday life and ask a question to all the people reading: to what extent these kind of inventions can be considered a bridge between imagination and reality and not a faux replacement of the latter?
Are they really tools making us better understand the world in which we live or are they just a convenient expedient supporting laziness and indolence? 

Virginia Isora Grimaldi

triadic ballet
Wednesday June 03rd 2020, 10:40 pm  Tagged
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dear don18, thanks again for the very interesting course and topics it dealt with. As me having been not too familiar with all the references and so on, and therefore not knowing many interesting things I could have shared within the same field, I wanted to take the opportunity to look 100 years back at an early bauhaus ballet.

By doing so, I see the triadic ballet (by Oskar Schlemmer, 1910s) as a wonderful and playful way of finding difference within an otherwise historically strongly established way of doing things. (The following video is a reenactment of the 70s with original costumes, but otherwise lot of reconstructions.)

In the end (at least I see it so) this is also what is beeing strived for in works of artists we looked at, not only to envision new futures based on the latest and future development of technologies, but mainly find a different way of interacting -, and by doing so, reflecting on the current way of using them.

„(…) Das Triadische Ballett, das mit dem Heiteren kokettiert, ohne der Groteske zu verfallen, das Konventionelle streift, ohne mit dessen Niederungen zu buhlen, zuletzt Entmaterialisierung der Körper erstrebt, ohne sich okkultisch zu sanieren, soll die Anfänge zeigen, daraus sich ein deutsches Ballett entwickeln könnte, das in Stil und Eigenart so verankert wäre, um sich gegenüber vielleicht bewundernswerten, doch wesensfremden Analogien zu behaupten (schwedisches, russisches Ballett).“

– Oskar Schlemmer

Human Data
Wednesday June 03rd 2020, 10:14 pm
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If I think about the definition of data, the first thing that comes to my mind is the digital world. I refer to the seemingly anonymous and surely impersonal traces that one leaves using the World Wide Web. My thoughts are accompanied by a negative feeling due to scandals from companies like Cambridge Analyticas, where our informations are used to exploit and gain power.

But do data have to be necessarily digital and not analog, if it’s officially defined as „the facts and informations collected together for references and analysis“? (1) Why do data only serves big institutions to retrace our (consumer or vote) behaviour and not the individuals to understand themselves better?

These are exactly the questions Georgia Lupi and Stefanie Posavec were concerned with. The two designers (Lupi also trained as an architect), one living in New York and the other in London, launched an experiment to get to know each other. They used data as their language to communicate and so to portray themselves and their surrounding. And this in a completely analog way: During one year they drew, mostly colourful, data visualisation on a postcard and send it across the Atlantic Sea to the other person. For every week they chose an other topic, for example (2)

-How many times they complain or somebody complains about them:

-What sounds they hear:

-About the things they were undecided about:

-Why and how many times they check the time:

Like this they could not only become more aware about their behaviour and their lives, but invented a new way of using data. They call it data humanism. In the Renaissance humanism instead of god the human nature is placed at the center of the world. And now the same thing should happen in the digital world. The focus should lay on humanity and not on the „holy and omniscient data“. Because behind all those numbers hide stories of human beings, which can’t be gathered by computers.

„Instead of using data only to become more efficient, we will all use data to become more humane“. (3)

1 –


3 –

Spaghetti with meatballs
Wednesday June 03rd 2020, 7:03 pm
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This post is about a drawing that really intrigued me. It was a total eye-catcher for me and I really love the story behind it.

The draughtsman of this amazing spaghetti cross section is Andreas von Foerster. As you might notice by his style of drawing presentation, he is an architect. One day during diner, he tried to explain his project he was doing to his guests using his meal plate and thought: ‘That would be a fun drawing.’ So he asked this boss at the time if he could use a sheet of company letterhead for it .

In total von Foerster has sold 150 copies of this drawing in a gallery in Sausalito, San Fransisco.

Raoul Pictor
Wednesday June 03rd 2020, 6:07 pm
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This app is an update of a project first made by the artist Hervé Graumann in 1993 on an Apple LC 475 computer.
You can add Raoul’s paintings on the image you take with you smartphone camera.

Can Holograms Be Artists?
Wednesday June 03rd 2020, 4:12 pm
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Hatsune Miku is a Vocaloid software voicebank developed by Crypton Future Media and its official moe anthropomorph, a 16-year-old girl with long, turquoise twintails. She uses Yamaha Corporation’s Vocaloid singing synthesizing technologies.  Her voice is modeled from Japanese voice actress Saki Fujita. Miku’s personification has been marketed as a virtual idol and has performed at concerts onstage as an hologram.

The name of the character comes from merging the Japanese words for first (初, hatsu), sound (音, ne), and future (ミク, miku), thus meaning “the first sound of the future”.

The interview with the creators of Miku’s digital pop star is a very interesting article to reflect onto the new aspects and trends of pop music and what might the the future of the music industry look like. 


In your opinion, are characters like Miku the future of music? Will pop stars eventually become obsolete?

I think Miku is already the present of music, in that she embodies a vast movement, brought about by the internet, and which blurs the line between creators and users. Music, like artistic creation in general, is not just a few professional artists making songs for the rest of the us. More and more individuals have the will, talent, and now the means to share their work with the world, and to be both consumer and creators. That idea has been around for a while, but I think Miku is one of its best illustrations. 

People have been relying increasingly on social media to get in touch with the world. At the same time they have become themselves sources and conveyers of content and information. And since there is no border on the internet, new trends can easily spread out of their region of origin into the whole world. And Hatsune Miku being a digital entity, she was able to fit perfectly in this new reality, and become a global phenomenon.

Visit DataCenter SuperComputer in Lugano for Suspi
Tuesday June 02nd 2020, 2:53 pm
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Hi Don18,

First of all I wanted to thank you, the course was very interesting, and you have dealt with super topical issues, which few universities are dealing with right now. Since I remember that in the first meeting with Captcha we discussed about the experience of visiting a data center, as a last comment I wanted to share some photos of when I had the chance to visit one of the big data centers in Switzerland near Lugano, which represents the data base of the Supsi University. I remember entering that space and how it struck me, an ambiguous architectural place, a space conceived and designed on the absence of the human being.

Francesca Malventi

Some thoughts on the digital image
Saturday May 30th 2020, 1:49 pm
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Erik Kessels, 24hrs in photos

Today, almost every image is digital: even analog modes of representation have a double, digital life. They are produced at an ever increasing rate: if in 2011 the pictures uploaded on Flickr were 350’000, today the images posted daily on Instagram are 95 million.
Is Hito Steyerl’s 2009 statement still true, namely that we have traded quality for accessibility? If one thinks about the quality of production and reproduction of pictures, it seems that the ‘poor image’ is disappearing again from the visibility spectrum, as popular digital screens and cameras achieve nowadays an ever higher performance. Technology aspires towards high-fidelity: to the philosopher Jean Baudrillard it was exactly this high fidelity that corresponded to the lowest definition of meaning.
Is today then the poor quality of an image a sly one, as it appears technically perfect while not conveying any meaning whatsoever? If one thinks again at the number of pictures posted everyday, this is hard to believe; otherwise one wouldn’t bother uploading. The meaning of a contemporary photograph must therefore lie elsewhere: not in its formal qualities, but in what it communicates. It becomes a document rather than image, as André Gunthert puts is: it fulfills another purpose. Its content is primarily informative, a content we can read in 13 milliseconds: this explains why we not only produce, but also consume an extremely high number of images. One therefore needs the means to navigate through this incredible amount of pictures, the same means we would use in a library, where one, to quote Gunthert again, would never say there are too many books.
Artists should’t fear this quantity, since their images operate at a different level than documents, because in addition to an informative content, they have a formal and aesthetic quality that engages and fascinates the viewer. It is this fascination that makes one linger, look longer, that transports one beyond the image, to what it might suggest. What Baudrillard described as “an exponential enfolding of the medium around itself, […] which leaves images no other destiny than images” may only be true of documents. The image has moreover another reading time in comparison to the latter: if the document is more fleeting, cinematic, the other is more static, it has a certain permanence.
It is exactly because of this characteristic, that to me, the artist needs to operate in a different context than social media, because otherwise she runs the risk that her images are read at the same speed and through the same parameters of all other pictures on the platform, namely only through discursive ones. As one tends to forget what is not directly visible, such as pixels, the nowadays almost invisible common denominator of most of the pictures we see, one also overlooks the fact that such platforms tend to prescribe a way of viewing and consuming pictures wich can be detrimental to the artist’s intentions.
Even if people can view an almost infinite number of images online, they still feel the need to go to galleries and museums and long for a less mediated experience. That’s why digital images, if they want to escape the destiny of the document, need to be seen in an analogue realm again.

Thomas Ruff, jpeg rl05

Saturday May 30th 2020, 12:31 pm
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UUmwelt is a passed Serpentine Gallery exhibition, created by Pierre Huyghe. Huyghe established a neural network, which layers a number of images together, based on the thoughts of a human. The dynamic pictures are generated through a circular process which includes biotic and human action.
The exhibition includes bluebottle flies flying around and thus a unhierarchical presence of human, animal and machine is pursued.

Dive into the flickering images via the link below:

Friday May 29th 2020, 12:34 pm
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All the stuff that is happening in China is already being tested in different forms throughout France. Technopolice is a participatory campaign to document the spread of so-called “Safe City” projects across France, and resist the proliferation of automated video-surveillance and predictive policing technologies.

Online and through exhibtions the Technopolice movement tries to document and raise awareness about the recent rise of AI surveillance in public space in France. They are warning us technohipsters and artsyfartsy people about our complicity of creating wider cultural acceptance of this “gigantic test tube where the most advanced forms of social control are being developed”.


In Toulouse, Valenciennes, Strasbourg or Paris, local police forces are experimenting videosurveillance technologies said to be “intelligent” because they are based on automated processing of video streams, enabling features such as facial recognition. In Saint-Étienne, a startup teamed up with local authorities to deploy “intelligent” microphones in low-income areas,  and alert the police in case of suspicious noise. A similar development is underway in Paris to monitor noise level around bars and cafés.

In Marseille and Nice, defense and utility contractors such as Thales and Engie are working hand-in-hand with local officials to push their “Safe City” projects. Their applications range from the recognition of emotions in urban public spaces to the massive interconnection of databases for predictive policing purposes, but also the monitoring of online social networks. Computing technologies such as Big Data and Artificial Intelligence are the keystones of these various projects. They are the core building block for making sense of all the data that can be produced or collected, for establishing correlations, making statistical cross-checks, tracking individuals or managing places and services.

The so-called Smart City is turning our future into the Technopolice: Under the guise of optimization and decision support, they transform the whole urban world into a vast surveillance program. First, a large-scale surveillance dedicated to real-time control of flows of people and goods through centralized management, implemented from a hyperconnected command center. Then, a targeted surveillance of individuals and groups:  as soon as “suspicious” behavior is detected, police apparatus can be unleashed to “neutralize the threat” and suppress the smallest “breach of the peace.” Or, conversely, reward citizens deemed virtuous by the State.

But we just have to look to the mirror of history or to other parts of the world to understand where the Technopolice is leading us: It will reinforce forms of discrimination and segregation, muzzle social movements, depoliticize public spaces, automate the police and denials of justice, while further dehumanizing social relations. All this and more at huge financial and ecological costs, since it will take taxpayers’ money, rare earths, plenty of electricity and many other resources to build and run these infrastructures.

Exhausting a Crowd
Friday May 29th 2020, 9:33 am
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Through Kyle Mcdonald’s “Exhausting a Crowd,” commissioned by the Victoria and Albert Museum for their All of This Belongs to You exhibition, which recorded five scenes from five cities. London’s Piccadilly Circus became one of the most intensely watched spaces of modern time. Anyone could (and still can) annotate the 12-hour video online and type dialogues for imagined encounters between friends and strangers, or just idly pass comment on a person waiting alone or the crowded bus driving by on a rainy street. It was a smart consideration of public space, surveillance, and our relationship to others when they’re removed from the physical world and forever looping in this evolving digital narrative.

GIF of an annotated scene from Kyle McDonald’s “Exhausting a Crowd” (GIF by Allison Meier via Vimeo)

Neri Oxman
Friday May 29th 2020, 8:05 am
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Neri Oxman is an American-Israeli professor and designer at the MIT Media Lab. She develops art and architecture that combine design, biology, computing and materials engineering – “a shift from consuming nature as a geological resource to editing it as a biological one.” 

The project Silk Pavilion (2013) explores how digital and biological fabrication techniques can be combined to produce architectural structures and scales. Inspired by the silkworm’s ability to generate a 3D cocoon out of a single silk threat, the geometry of the pavilion was created using an algorithm that assigns a single continuous thread providing various degrees of density. The silkworm itself are deployed as a biological “printer” in the creation of the secondary structure.

Have a look at the MIT website and talks – Neri Oxman, for me, is an inspiring thinker and artist!

Lucy Mcrae
Wednesday May 27th 2020, 11:09 am
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compression craddle

Lucy MCrae, coined the term body architect to describe herself. With her artwork, she investigates a future where the growing influx of technology starts to have a big impact on people’s mental wellbeing. One topic she has been especially adressing is that of human contact

She wonders whether mechanical touch, rather than physical contact with other humans, will become the solution.

“What you are going to crave the most is someone hugging you, and the resulting shower of oxytocin. “

The Future Day Spa is a personalised, physiological experience delivering controlled vacuum pressure to the body, replicating the feeling of being hugged.

future day spa 2016

Guided by a therapist, the participants in Future Day Spa hand their bodies over to a part–human, part–machine process that induces a state of relaxation. In collaboration with Qualcomm® Inventor Lab, Lucy McRae integrated technologies for capturing biometric data in order to understand the physiological benefits of a treatment. Trialled on over 100 individuals, one participant disclosed beforehand that he denies himself physical contact with other humans, and at the end of his treatment he responded (surprisingly) by hugging his therapist. The release of oxytocin in the brain is involved in social recognition and the formation of trust between people. This unexpected response has raised parallels between the behavioural effects of triggering oxytocin and possible applications the Future Day Spa could have on treating social isolation, autistic spectrums, and depression. The next step is to detect the electrical activity in the brain during a Future Day Spa treatment and understand the role machine touch could have on the body and our emotions. “I look for beauty in the biological, responding to future scenarios like space travel, to radically transform the life sciences”, says the artist. “I want to spearhead a health revolution and impact the way people embody the future.” 

Compression Cradle is a machine that affectionately squeezes the body with a sequence of aerated volumes that hold you tight – in an attempt to prepare the self for a future that assumes a lack of human touch.

compression craddle 2019

It looks like a remnant from a world we have not yet seen but might soon inhabit. One where mechanical touch may be an antidote for today’s ‘forever connectedness’, a behaviour that’s triggered a lonely disconnection with ourselves.

Only we can control the way that we respond to science and technology. I think that our response has to come from those primal, intuitive gut feelings, because we really have no idea what the future will be like – it’s unfathomable. Instinct and intuition aren’t things that are learned, they are things that you’re born with and that you can act on.

Saturday May 23rd 2020, 12:28 pm
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In 1982, the 8-bit personal computer ZX Spectrum was released in the UK. The entry level Spectrum had 16 KB RAM and distinctive rubber keys.

image: Bill Bertram

There are some (tenuous) parallels between Lauren McCarthy’s p5.js and the Spectrum. Lauren McCarthy’s project makes creating visual media accessible to artists, designers, educators, and beginners, with an emphasis on building an inclusive community. While the Spectrum had no explicit goal of inclusivity with regards to gender, race and disability, it was one of the first computers to reach a mainstream audience in the UK. It was financially accessible – achieved by reducing production costs to a minimum – and easy to use. Adults and children could make their own programs with the language BASIC.

Unlike p5.js, the Spectrum was not aimed at creating art and design, but its aesthetics were unique, as were those of the games associated with it. They were loaded with a cassette recorder, which sometimes only worked on the 2nd or 3rd attempt… but it was worth the wait!


Thursday May 21st 2020, 5:39 pm
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«AGI [Artificial General Intelligence] will with no doubt be the most important technological invention of the planet by huge margin.” – Ilya Sutskever

With these words I would like to invite you to watch this informative documentary on about Artificial Intelligence.

While watching it, I was constantly thinking about movie classics like Alphaville or Blade Runner, where human individuals are confronted with AI. These movies date back in time decades ago – with this documentation I feel like they have become real.

(Michael Utiger)

art with genes and artificial intelligence
Wednesday May 20th 2020, 12:37 pm
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the echo of the future

Reality and technology are increasingly merging. This documentary provides an interesting look into the future through the eyes of various contemporary artists, connecting art and science through their visionary projects .

Saturday May 16th 2020, 8:23 am
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Do algorythms have prejudices?

Building Without Bias is an online dictionary that exposes the gender biases embedded within contemporary technology. The dictionary can be explored by typing a word into the search bar. When entered, a gender value is returned (from he to she); this value shows whether machines (or algorithms) currently see that word as male or female.

The gender values are based on word embedding induced using the word2vec method, trained on English Google News articles.

The dictionary may be used as a tool for research, creation and design.

The real footprint of the digital
Friday May 15th 2020, 4:10 pm
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Training a single AI model can emit as much carbon as five cars in their lifetimes

Equinix Data Center
(, 15.05.20)

Seemingly virtual brain-powered work, the artificial intelligence industry actually does have a very material impact. Data needs to be mined and refined, just like fossil-fuel ressources. And just like these, the digital process has a tremendous environmental impact.

Training a big AI model can emit up to 1,400 pounds of carbon dioxide equivalent, close to a round-trip trans-America flight for one person.

The computational and environmental costs grow according to model size and accuracy. Until now, efficency is not the trend in training these models but rather and abundant access of resources. This makes it nearly impossible for academia to play a role in the research and development processes. Academic institutions have to compete the vaste resources of the industry.

Find the full article:

my contribution
Friday May 15th 2020, 9:11 am
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dear friends i recommend you to read an essay which I found inspiring

Thursday May 14th 2020, 6:04 pm
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Staff members at Woodlin Elementary School distribute computers to parents of Montgomery County students on March 26, 2020 in Silver Spring, Md.
 Photo: Win McNamee/Getty Images


We face real and hard choices between investing in humans and investing in technology. Because the brutal truth is that, as it stands, we are very unlikely to do both.

“To be clear, technology is most certainly a key part of how we must protect public health in the coming months and years. The question is: will that technology be subject to the disciplines of democracy and public oversight, or will it be rolled out in state-of-exception frenzy, without asking critical questions that will shape our lives for decades to come? Questions such as these, for instance: if we are indeed seeing how critical digital connectivity is in times of crisis, should these networks, and our data, really be in the hands of private players such as Google, Amazon and Apple? If public funds are paying for so much of it, should the public also own and control it? If the internet is essential for so much in our lives, as it clearly is, should it be treated as a nonprofit public utility?”

Naomi Klein, The Intercept

Polizia di Stato Rimini

Drones, police cameras, people filming with their iphones are supplying media with a great quantity of incriminating images of todays criminals, sitting on a park bench or lying on the beach. Images of extreme surveillance in the public space.

Zach Blas – Facial Weaponization Suite
Thursday May 14th 2020, 3:33 pm
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Fag Face Mask (2012)

The artist deals with the topic of digital surveillance systems used to ensure compliance with laws and security in public spaces. The mask is designed to protect the face from facial recognition as well from being judged.

Facial Weaponization Communiqué (2012)

Facial recognition systems store the facial characteristics of convicted persons in order to be able to recognize potential criminals preventively. This security system is currently being expanded everywhere and should be usable in the everyday life of police officers. But doesn’t this encourage people to make superficial judgments and train machines to adopt a racist pattern? 

The map of the internet
Thursday May 14th 2020, 10:51 am
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In the last few weeks I saw a number of news articles talking about the current spike in online traffic over the globe due to the corona crisis. With people learning and working from home using the internet, the global digital divide becomes more and more visible. The digital divide describes differences in the access and use of the internet in different regions on the earth. 

While doing some further reading on this topic I found the so called OPTE project by Barrett Lyon. In 2003 he started visualizing the internet or the „digital space“ by mapping all the networks on the globe.

Map of the Internet by Barrett Lyon

data verse
Thursday May 14th 2020, 9:07 am
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i want to share a piece of art by japanese artist ryoji ikeda which amazed me a lot.

“massive open source scientific data sets from various institutions — including CERN, NASA and the human genome project — were processed, transcribed, converted, transformed, and orchestrated to visualize and sonify the different dimensions co-existing in our world, from the microscopic, to the human, to the macroscopic.”

Rethink the Digital Art
Thursday May 14th 2020, 2:15 am
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This post is to introduce one of my favorite artists, Vera Molnar. She is known as a pioneer of digital art, having worked with this topic for over fifty years. Before the computer became a tool that everyone can use, she ordinally explored the possibilities with the theme of randomness by using dice. In order to push up this theme, she started to use the computer and to invent algorithms that allow the creation of image series following a set of pre-ordained compositional rules.

The images below are her works exhibited at the Museum of Digital Art in Zurich last year. As you might see, it is true that they look like “nothing-special” work, however, the fact that she worked on them about 40 years ago definitely changes our mind. Surprisingly, she had already realized what is the value of using computers even though the technology was a baby many people struggled to handle it. Because of her simple output and clear concept, we can re-think about the uniqueness of digital work such as “randomness” and “reproducibility”.

More information:

Byung-Chul Han for LIBERATION
Thursday May 14th 2020, 1:31 am  Tagged , ,
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Coronavirus is a system test for state software. It seems that Asia is far more successful in controlling the epidemic than its European neighbours: in Hong Kong, Taiwan and Singapore there are very few infected people, and for South Korea and Japan the worst is over. Even China, which was the first focus of the epidemic, has largely succeeded in stemming its spread. Recently, there has been an exodus of Asians fleeing Europe and the United States: Chinese and Koreans want to return to their countries of origin where they will feel safer. The price of flights is exploding, and finding a plane ticket to China or Korea has become mission impossible.

What about Europe? It’s losing its footing. It’s reeling under the impact of the pandemic. We’re de-tubing older patients so we can relieve the younger ones. But we also see that a meaningless actionism is at work. The closure of borders appears to be a desperate expression of the sovereignty of states, whereas intensive cooperation within the European Union would have a far greater effect than the blind entrenchment of its members in their own backyard.

What are the systemic advantages of Asia over Europe in the fight against the disease? Asians have relied heavily on digital surveillance and the exploitation of megadata. Today, in Asia, it is not virologists or epidemiologists who are fighting the pandemic, but computer scientists and “big data” specialists – a paradigm shift that Europe has not yet fully grasped. “Big data saves lives,” cry out the champions of digital surveillance.

There is almost no critical awareness among our Asian neighbours towards this surveillance of citizens. Even in the liberal states of Japan and Korea, data monitoring has almost fallen into oblivion, and no one rebels against the monstrous and frenetic gathering of information by the authorities. China has gone so far as to introduce a system of “social points” – a prospect unimaginable for any European – which makes it possible to establish a very exhaustive “ranking” of its citizens, under which the social attitude of each individual must be systematically assessed. The slightest purchase, the slightest activity on social networks, the slightest click is monitored. Anyone who runs a red light, frequents people hostile to the regime, posts critical comments on the Internet is awarded “bad points”. That’s living dangerously. Conversely, anyone who buys healthy food online or reads Party-related newspapers will be rewarded with “good points”. And anyone who has accumulated enough good points will be able to obtain an exit visa or loans at attractive rates. But anyone who falls below a certain number of points may well lose his or her job.

Temperature Check

China is not the only country to have banned critical thinking about digital surveillance or big data: the same is true of South Korea, Hong Kong, Singapore, Taiwan and Japan, states that are literally getting drunk on digital. This situation has a specific cultural cause: in Asia, collectivism reigns supreme, and individualism is only weakly developed (individualism and egoism are two different things: it goes without saying that in Asia too, egoism has a bright future ahead of it).

It has to be said, however, that in the fight against the virus, megadata seem to be more effective than closing borders. It is even possible that in the future, body temperature, weight and blood sugar levels, among other data, will be controlled by the state. A digital biopolitics that would reinforce the digital psychopolitics already in place, with the aim of directly influencing the thoughts and emotions of citizens.

In Wuhan, thousands of electronic surveillance teams have been formed, with the task of tracking down potential patients using only their specific data. The analysis of mega-data alone enables them to identify people who may be infected, and thus determine who should remain under observation and possibly be quarantined.

In Taiwan or South Korea, the state simultaneously sends a text message to all its citizens to find people who have been in contact with sick people, or to inform people of the places and buildings through which people who have tested positive for the coronavirus have passed. Very early on, Taiwan matched different information in order to trace the movements of potential sick people. In Korea, one need only approach a building where an infected person has stayed to receive an immediate alert via the Covid-19 control application. Korea has also had surveillance cameras installed in every building, office and shop; again, it is impossible to move around in the public space without being targeted. Using data from mobile phones, it is possible to check the movements of a patient in an instant, and the comings and goings of all infected persons are made public. Needless to say, secret links do not remain secret for long.

The Slovenian philosopher Slavoj Žižek says that the virus will deal a mortal blow to capitalism. He invokes an ominous communism, going so far as to believe that the virus will bring about the failure of the Chinese regime. Žižek is wrong: it will not. With its success in dealing with the epidemic, China will sell the effectiveness of its security model around the world. After the epidemic, capitalism will resume and will be even more implacable. Tourists will continue to trample and raze the planet to the ground. The virus has not slowed down capitalism, no, it has put it to sleep for a while. There is calm – a calm before the storm. The virus is no substitute for reason, and what may happen to us in the West is that we will inherit police states like China on top of it.

Health QR Code in China
Wednesday May 13th 2020, 10:12 pm  Tagged , ,
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The “health code” service – run on the ubiquitous platforms Alipay and WeChat and developed for the Chinese government – give users color-coded designations based on their health status and travel history and a QR code that can be scanned by authorities. People given a green code are allowed to travel relatively freely. A yellow code indicates that the holder should be in-home isolation, and a red code says the user is a confirmed Covid-19 patient and should be in quarantine.

Only those with a green health code are allowed to enter most public spaces such as supermarkets, restaurants, and public transportation. Everyone would need to have their code scanned for access to public venues and public transportation, and a user’s location and whereabouts could also be traced via his AliPay or WeChat app.

The health codes also serve as a tracker for people’s moves in public areas, as residents have their QR codes scanned as they enter public places. Once a confirmed case is diagnosed, authorities are able to quickly backtrack where the patient has been and identify people who have been in contact with that individual.

“If the man who queued behind you for a cup of coffee at a convenience store two days ago is found infected, the government can analyze related health code data as well as footage from CCTV cameras and identify all close contacts so you will receive a prompt warning to get tested, and, as a precaution, your code will turn yellow,” noted the report.

The health codes have three colors to indicate risk levels. Only a green code can enable the bearer to access public venues or travel from one city to another. Photo: Asiatimes.
Almost every resident in China will need a health code to get out and about and enter public venues. Photo: China News Service
A woman wearing a hazmat suit and face mask holds up a Wuhan city health QR code for residents to scan before entering a residential compound in Wuhan. Photo: CNN Business.

More information:, MAY 12, 2020, April 16, 2020,April 1, 2020

Getting Ready
Wednesday May 13th 2020, 5:18 pm
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In the mid-1970s F.M. Esfandiary (October 15, 1930 – July 8, 2000) legally changed his name to FM-2030 for two main reasons. Firstly, to reflect the hope and belief that he would live to celebrate his 100th birthday in 2030; secondly, and more importantly, to break free of the widespread practice of naming conventions that he saw as rooted in a collectivist mentality, and existing only as a relic of humankind’s tribalistic past.

He viewed traditional names as almost always stamping a label of collective identity – varying from gender to nationality – on the individual, thereby existing as prima facie elements of thought processes in the human cultural fabric, that tended to degenerate into stereotyping, factionalism, and discrimination.

In his own words, “Conventional names define a person’s past: ancestry, ethnicity, nationality, religion. I am not who I was ten years ago and certainly not who I will be in twenty years.” The name 2030 reflects my conviction that the years around 2030 will be a magical time. In 2030 we will be ageless and everyone will have an excellent chance to live forever. 2030 is a dream and a goal.”

Library of Babel
Wednesday May 13th 2020, 4:52 pm
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The Library of Babel is a place for scholars to do research, for artists and writers to seek inspiration, for anyone with curiosity or a sense of humor to reflect on the weirdness of existence – in short, it’s just like any other library. If completed, it would contain every possible combination of 1,312,000 characters, including lower case letters, space, comma, and period. Thus, it would contain every book that ever has been written, and every book that ever could be – including every play, every song, every scientific paper, every legal decision, every constitution, every piece of scripture, and so on. At present it contains all possible pages of 3200 characters, about 104677 books.

Example with “kleine Fabel” by Kafka:

Cécile B. Evans, Hyperlinks or It Didn’t Happen
Wednesday May 13th 2020, 4:16 pm
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In her video “Hyperlinks or It Didn’t Happen” Cécile B. Evans deals with the independent life of our digital images. In doing so, she raises fundamental questions about the relationship between life, death, identity and their circulation on the Internet. Her video work is structured like an exhaustive online search, whose protagonists are driven by a seemingly endless flow of information. The precisely composed and loosely linked episodes are being commented by PHIL, in her own words the “bad copy” of a famous actor who died in 2014. After his death, various media initially reported that the role of the actor in the last part of a blockbuster series should to be taken over by a digital reproduction. What does it mean for our physical existence if the lifespan of our digital pendants exceed that of humans?

Covid-19: Big Data and AI
Monday May 11th 2020, 8:53 pm
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How will the pandemic influence the future? How do we want our future to be?

Monday May 11th 2020, 1:35 pm
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The city of Zurich steam this couple’s life every year.

On the web site you can read:

“Auf dem Hochkamin an der Josefstrasse befindet sich ein Wohnung, das wir mit einer Innen- und Aussenkamera ausgestattet haben. Die Kameras sind so angebracht, dass das Paar nicht gestört werden. Wir freuen uns, Ihnen die Live-Bilder zur Verfügung stellen zu können.”

So two cameras are placed outside and inside the house. Every day more than 100 people watch the life of this couple, spying on the departure and the return home, in the hope of finding something interesting in their intimacy.

I don’t know if they know they are being watched, and if their behavior changes with the awareness of a few hundreds eyes on them.

But still they come home, back and forth, doing their jobs, live their lives back in their apartment by the day.

Inside camera:

Outside cameras:



Gretchen Bender
Friday May 08th 2020, 2:44 pm
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Gretchen Bender (1951-2004) was an American artist working mainly with film, video and media in the late 20th century. 

At the time, TV was becoming more and more present in everyone’s life, letting any subject smoothly infiltrate living rooms without making any distinction between topics, jumping from commercials or entertainment shows to war culture. She took advantage of the situation, deciding to use the media against itself because it was particularly ready to taking pulse of the crowd culture. As she said, she would “mimic the media – but […] turn up the voltage on the currents so high that hopefully it will blast criticality out there”. She uses the force of the screen to turn it into cynical pieces about the power of corporations and technology towards individual lives.

Even though she had the feeling that her work had a strong temporal limit due to its meaningfulness in culture particularly at a precise moment, it seems that the fearlessness she developed make her work actually resonate even more strongly today. Two of her works are particularly interesting nowadays towards our society always facing screens and completely overwhelmed but addicted to it.

T.V. Text and Image was an ongoing project begun in 1985. In this oeuvre she she superimposed strongly connoted but very simple and straight-forward texts to TV screen such as “Relax”, “I’m going to Die” or “People with AIDS”. In creating these augmented and multi-layered lenses, she aimed to make the audience more critical about the content they were watching, often controlled, bleached and playing on the mental-zombie state of mind of the audience.

Gretchen Bender, T.V. Text and Image, 1985
Gretchen Bender, T.V. Text and Image, 1985
Gretchen Bender, T.V. Text and Image, 1985
Gretchen Bender, T.V. Text and Image, 1985

Total Recall is an art piece of 1987 composed of 24 color monitors and 3 projections screens showcasing different programs at the same time. The work bring light to the way TV constantly  juxtaposes extreme environments, creating a world in which pleasure and violence coexist to the point of meaninglessness. 

As Gretchen Bender explains to Peter Doroshenko, curator of her first retrospective at the Everson Museum of Art, “I wanted to present a conceptual landscape and to use the media against itself — to have it be entertaining and critical simultaneously. And I wanted to see how far I could push using the seduction of the imagery from television and computer graphics without going over the edge…by having multiple channels in Total Recall, I started discovering things that we were saying to ourselves — about a nostalgia for an American heartland that never was; about a simultaneity of the past, present and future; how nothing ever dies. No matter how fragmented it is, TV seamlessly promotes its fiction as politics and its politics as entertainment.”

Gretchen Bender, Total Recall, 1987
Gretchen Bender, Total Recall, 1987

Friday May 08th 2020, 9:14 am
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Second Life is an online virtual world, developed and owned by the San Francisco-based firm Linden Lab and launched on June 23, 2003.

In many ways, Second Life is similar to massively multiplayer online role-playing games; nevertheless, Linden Lab is emphatic that their creation is not a game: “There is no manufactured conflict, no set objective“.

Second Life users, also called residents, create virtual representations of themselves, and are able to interact with places, objects and other avatars. They can explore the world (known as the grid), meet other residents, socialize, participate in both individual and group activities, build, create, shop, and trade virtual property and services with one another.

The platform principally features 3D-based user-generated content. Second Life also has its own virtual currency, the Linden Dollar, which is exchangeable with real world currency.

Thursday May 07th 2020, 12:33 pm
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Jiabao Li is an artist who creates new ways for humans to perceive the world. I think this project fits in the blog as it investigate how technology mediates the way we perceive reality.

“Human perception has long been influenced by technological breakthroughs. An intimate mediation of technology lies in between our direct perceptions and the environment we perceive. Through three extreme ideal types of perceptual machines, this project defamiliarizes and questions the habitual ways in which we interpret, operate, and understand the visual world intervened by digital media.”

Starting from the fact that we, as society, might not be always conscious how technology shapes our sense of reality, the artist finds ways to change the view on this phaenomena. Since our perception has become part of a value chain, in order to sell, she investigates ways to bring awareness through developing glasses, plug-in, and any other type of aid. Technology is never neutral, and whether we want it or not, it frames our reality

more about this project on

Russian cows should give more milk thanks to VR glasses
Monday May 04th 2020, 9:53 pm
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Russian cows should give more milk thanks to VR glasses


Through the virtual glasses the grass looks greener

artificial neural network creates faces
Monday May 04th 2020, 8:32 pm
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artificial neural network creates faces

Imagined by a GAN (generative adversarial network) StyleGAN2 DEC2019



Camouflage from face detection (tu)
Monday May 04th 2020, 7:22 pm  Tagged , ,
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Camouflage from face detection

CV Dazzle explores how fashion can be used as camouflage from face-detection technology, the first step in automated face recognition.

The name is derived from a type of World War I naval camouflage called Dazzle, which used cubist-inspired designs to break apart the visual continuity of a battleship and conceal its orientation and size. Likewise, CV Dazzle uses avant-garde hairstyling and makeup designs to break apart the continuity of a face. Since facial-recognition algorithms rely on the identification and spatial relationship of key facial features, like symmetry and tonal contours, one can block detection by creating an “anti-face”.

Look + 3
Photo ©Cha Hyun Seok
From Coreana Museum of Art Workshop
Creative Direction: Kim Hyuna
Makeup: Moon Yoo Jin
Makeup (Jewelry Details): Bai Yingai
Makeup (Stud Details): Jung Ji Moon
Hair: Choi Ji Soo, Gu Ye Na
Face Chart Design: Kim Ka Hyun, Kim Ye Bin
Model: G-Squre Model Academy
Look + 4
Photo ©Cha Hyun Seok
From Coreana Museum of Art Workshop
Creative Direction: Kim Hyuna
Makeup: Moon Yoo Jin
Makeup (Jewelry Details): Bai Yingai
Makeup (Stud Details): Jung Ji Moon
Hair: Choi Ji Soo, Gu Ye Na
Face Chart Design: Kim Ka Hyun, Kim Ye Bin
Model: G-Squre Model Academy
Look + 2
Photo ©Cha Hyun Seok
From Coreana Museum of Art Workshop
Creative Direction: Kim Hyuna
Makeup: Moon Yoo Jin
Makeup (Jewelry Details): Bai Yingai
Makeup (Stud Details): Jung Ji Moon
Hair: Choi Ji Soo, Gu Ye Na
Face Chart Design: Kim Ka Hyun, Kim Ye Bin
Model: G-Squre Model Academy
Look + 1
Photo ©Cha Hyun Seok
From Coreana Museum of Art Workshop
Creative Direction: Kim Hyuna
Makeup: Moon Yoo Jin
Makeup (Jewelry Details): Bai Yingai
Makeup (Stud Details): Jung Ji Moon
Hair: Choi Ji Soo, Gu Ye Na
Face Chart Design: Kim Ka Hyun, Kim Ye Bin
Model: G-Squre Model Academy

OpenCV Face Detection
OpenCV is one of the most widely used face detectors. This algorithm performs best for frontal face imagery and excels at computational speed. It’s ideal for real-time face detection and is used widely in mobile phone apps, web apps, robotics, and for scientific research.
OpenCV is based on the the Viola-Jones algorithm. This video shows the process used by the Viola Jones algorithm, a cascading set of features that scans across an image at increasing sizes. By understanding how the algorithm detects a face, the process of designing an “anti-face” becomes more intuitive.

There are some styling tips for everyone who does not want to be recognized by CCTV. (button below)

Watch more TV!
Monday May 04th 2020, 5:20 pm
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A digital exhibition from The Copenhagen Architecture Festival. A live exhibition in the Tv flow format, not streaming or video on demand. Or how they explain it :

“Originally, the exhibition was supposed to take place at the architecture school KADK’s library, but because of the lack of physical space during the current lock down, we will shift to an old-school flow TV format – not streaming, Zoomers and Netflix viewers!

Follow our ‘virus affected’ website as it gets overtaken by films, talks, discussions and other contributions from prominent Danish, German and international voices in architecture.

Experience thought experiments for the state of the world beyond conventional crisis thinking, examinations of relationships between architecture, economics and politics, innovative work on health and architecture like malaria houses in Tanzania, post-metropolitan horizontal urbanism in East Jutland anno 2038 with Deane Simpson and his students from KADK, exploration of the potentials of the countryside linking to Rem Koolhaas’ Guggenheim exhibition, fictional future scenarios of 2038 when the climate crisis is under control, housing the non-human, why linear TV dispels the bubbles, and much more. Explore parallels between the TV medium and architecture that can both reinforce an argument, telling stories, creating new spaces and framing the world in new ways.”

I found it an interesting take on the current situation, but if anyone remembers It’s also a small virtual visit back to the HIL building, where similar videos were constantly playing next to F41.

Being many with Lynn Hershman Leeson
Tuesday April 28th 2020, 2:18 pm
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With the course focusing on the role of digital matter within the art practice, Lynn Hershman Leeson’s works provides another very interesting input to the discussion. Her art, often in the form of filmmaking or installation, critically examines the shifting relations between fact and fiction, surveillance and identity. Concepts of a single person becoming many fictional clones and alter-egos are a red thread in her work. In an interview published last September, Lynn Hershman Leeson talks about her way of producing, her “relationship” to Siri and gives interesting and thought-provoking statements about the future role of technology, especially that of surveillance.

In her feature films Strange Culture (2007), Teknolust (2002) and Conceiving Ada (1997) she focuses on the boundaries of the human experience within a fully technologized world. The latter makes reference to Ada Lovelace, an English mathematician who is known to be the first computer programmer for writing an algorithm to compute the so-called Analytical Engine in the 1850s.

Herhsman Leeson’s work also serves to open up the conversation to a feminist perspective on technological advances and its active use and representation in art. In 2011 Hershman-Leeson directed the documentary film “!Women Art Revolution”, in which she portrays the only insiginificantly recognized feminist art movement in the United States. While for once digitalisation is not in the center of her work, it is definitely wort to take a look at and luckily in can be watched online:

In addition an essay by Shelby Doyle and Leslie Forehand “Fabricating Architecture: Digital Craft as Feminist Practice” gives new perspectives to digitalisation and the often only marginally represented role of females in it.

Fake or true?
Monday April 27th 2020, 11:19 am
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Whether it’s fake science, fake news or fake pictures: Auto-generated contributions from self-learning computers will make it increasingly difficult for us to check data for authenticity. Generate your version:

Listening to the Voice of #AI,
Monday April 20th 2020, 10:13 am
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Artists and musicians Holly Herndon and Mat Dryhurst set out an alternative future for AI, based on their training of ‘AI baby’ Spawn and their live show PROTO.

Monday March 30th 2020, 12:58 pm  Tagged , ,
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Thanks for sharing the great Synthetic Pleasures! As a comment I have two associative art works to share that came to my mind while watching the documentary.

1. IAN CHENG – AI simulations

#virtualrealitytoday. I thought Ian Cheng’s live simulations might be quite interesting in regards of digital visualization, we need i.e. during quarantine times.

Ian Cheng’s (visual artist based in New York) work explores the nature of mutation and the capacity of humans to relate to change. In his live simulations, familiar objects are programmed with basic properties, but are left to influence each other without authorial control or end.

What is a simulation?
Think of it as a videogame that plays itself. It is a private game we devise when the aliveness of a situation is too complex to really know. It is drafting reality through an ocean of forking behaviors to find an optimal end. What is a live simulation? It is playing this game in public and not letting it end when the game gets good. Darwin said the greatest live simulation is nature herself, who incessantly tries and fails aloud, never stopping at perfection. But nature is often too fast, too slow, too big, too small, for us. We desire a live simulation at scale with human spacetime, but unending in its variety and blind to our barometers of quality. A live simulation that we can feel, but does not give a fig for us.

2. Marie Voignier –
real life simiulation

Crickets chirping, blue sky, a palm tree moved gently by the sea breeze. An enormous dome in a military base in the midst of Brandenburg hosting an artificial tropical island. A storm blowing from paradise. Longing for authenticity, longing for illusion, longing for normality. This storm is what we call progress.

Marie Voignier, Hinterland, 2009
Marie Voignier, Hinterland, 2009, Video Still.

Tropical Islands in Brandenburg, Germany, reminded me of the Ocean Dome in Japan (seen in Synthetic Pleasures).

‟It’s grey and cold in Germany and not everybody has the time or the money to go to faraway islands, so I thought that someone should bring the Tropics here.”
— Colin Au, Creator of ‟Tropical Islands”

Tropical Islands is located a stone’s throw from the small East German town of Krausnick. After the war, this area was occupied by a Soviet air base. After the fall of the wall an air transport company moved in.

Synthetic Pleasures
Thursday March 26th 2020, 9:34 pm
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As we are all stuck at home due to the current situation I figured I would share something to stream with everyone, just to break the usual Netflix routine.

I would like to share the 1995 documentary Synthetic Pleasures. I feel it is very relevant to the topics of this course and also to contemporary times. It is intriguing and also a bit terrifying how a lot of the questions posed in this 25-year-old documentary are still relevant today.

The documentary covers a wide range of subjects including virtual reality, artificiality, club culture, drugs, among many others.

I thought it was a thrill to watch, hope some of you will enjoy it as well.

P.S. the 4:3 platform generally has interesting content. I can also recommend Liberty City, a 1980 indie film by a soviet director, which is also on the 4:3 channel. Beautiful scenography and a totally twisted plot.

Monday March 23rd 2020, 3:48 pm
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Recorded using only plastic material, the concept of the latest Matmos album is undergirded by the compositional integrity, the quality of the sound, and the sickeningly beautiful idea of it all.

Read the review on

© Theo Anthony
Matmos, Plastic Anniversary, Album Cover

Hello students
Tuesday March 17th 2020, 9:51 am
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For remote teaching of DON 18 we will use this blog as a collective tool. The idea is to exchange thoughts and questions about our topic “From Microsoft to Microdosing”