By many accounts, the internet is entering a new stage that will completely alter how we experience it. At its core it’s “a story about community and collaboration on a scale never seen before” that is focused on “tearing down the traditional barriers that have kept companies safe.

What if NFT collections like Bored Ape Yacht Club, Azuki, CloneX, and other such stupid crap were actually honest about what they were?

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SOURCES: https://www.cracked.com/article_31914_nfts-are-so-so-dumb.html https://www.theatlantic.com/ideas/archive/2021/04/nfts-werent-supposed-end-like/618488/ https://www.theverge.com/2021/3/20/22334527/nft-scams-artists-opensea-rarible-marble-cards-fraud-art https://www.wired.co.uk/article/nft-fraud-qinni-art https://www.wired.com/story/nfts-hot-effect-earth-climate/ https://www.scmp.com/magazines/style/tech-design/article/3123302/would-you-pay-us590000-meme-nyan-cat-just-sold-six https://techcrunch.com/2021/03/24/nft_users/ https://www.cnbc.com/2021/04/14/irs-is-probing-the-dark-web-to-look-for-cryptocurrency-nft-tax-evasion.html https://www.vice.com/en/article/5dgzed/what-the-hell-is-right-clicker-mentality https://kotaku.com/nft-buyers-scammed-as-creator-bails-who-could-possibly-1847806528 https://hyperallergic.com/702309/artists-say-plagiarized-nfts-are-plaguing-their-community/ https://news.bitcoin.com/nft-criticism-heightens-skeptic-calls-tech-a-house-of-cards-claims-nfts-will-be-broken-in-a-decade/ https://www.theverge.com/2021/5/21/22447690/link-rot-research-new-york-times-domain-hijacking https://www.rollingstone.com/music/music-news/interpol-david-lynch-nft-collaboration-1248376/ https://adage.com/article/digital-marketing-ad-tech-news/how-brands-are-using-nfts-continually-updated-list/2376086 https://www.theverge.com/22683766/nft-scams-theft-social-engineering-opensea-community-recovery https://kotaku.com/nft-buyers-scammed-as-creator-bails-who-could-possibly-1847806528

Roger Horton: Jack Hunter Artist: Darnell Eaton Writer: Mark Hill Director: Jordan Breeding Art Director/Assistant Director: Andy Newman Director of Photography: Dave Brown Editor: Jordan Breeding Sound: Mike Schoen Key Production Assistant: Jose Brown Set Production Assistant/Art: James Satterfield Teleprompter: Hillary Shea

Mark's Twitter: https://twitter.com/mehil Mark's Book: https://www.amazon.com/dp/B087SDX4L5 Jordan’s Twitter: https://twitter.com/The_J_Breeding Jordan’s Writing Portfolio: https://thejordanbreedingblog.wordpress.com/2017/03/22/portfolio/ Dave’s Instagram: https://www.instagram.com/deforestbrown/

00:00 - If NFTs Were Honest 05:18 - Darnell Is Going To Be Famous

NFT #Crypto #NFTExplained

Susan Rogers, by her own admission, is a rare bird. A female producer and sound engineer in an industry dominated by men, her drive and commitment would land her side by side with Prince as his star soared. She came to work with him in Paisley Park as an audio technician right before he would begin Purple Rain, and she’d stay working with him and becoming his sound engineer through his commercial peak; recording Parade, Around the World in a Day, The Black Album, and Sign O the Times. But Prince isn’t the only part of Susan Rogers’ story. In 1988 she left Minneapolis, and would go on to produce some of the biggest hits of the 90’s before taking the money from that to go back to school, and become a Professor at one of the world’s most prestigious music schools. Her name is synonymous with Prince, but the story of how Susan got there, and what she did after this legendary collaboration, is just as fascinating. From finding her musical tribe as a kid in Orange County, to recording some of the most loved songs of all time, and diving into the neuroscience of why we connect with song, this is a brilliant conversation with a curious mind, and living legend. James Brown - Papa's Got a Brand New Bag Prince - Let's Go Crazy Geggy Tah - Whoever You Are Barenaked Ladies - One Week Wilson Pickett - In the Midnight Hour

https://www.abc.net.au/radio/programs/take-5/susan-rogers-take-5/12421040

"Now, let me stop you right there," Prince said. "Why did you write that?" It occurred to me that he might have flown me in from New York just to tell me that I knew nothing of his work. "The music I make isn't breaking the law, to me," he said. "I write in harmony. I've always lived in harmony—like this." —The Beautiful One is an essay by Dan Piepenbring about his collaboration with Prince on a memoir, which had barely started when Prince passed away.

Goldsmiths College Department of Art MFA Lectures 2018 - 2019

Series 1.1: Offence is the Best Defence: On the Success of Social Media Toxicity

8 Oct 2018 — Daniel Rourke (Goldsmiths): “We're trying to have the non-weird future get here as fast as possible.” 15 Oct 2018 — Isobelle Clarke (Birmingham): "Poor little snowflake, are you 'grossly' offended?": Quantifying Communicative Styles of Twitter Trolling 22 Oct 2018 — Zeena Feldman (Kings College, London): Beyond Time: On Quitting Social Media 29 Oct 2018 — William Davies (Goldsmiths): War of Words: Embodiment and Rhetoric in Online Combat

Daniel Rourke 8th October 2018 “We're trying to have the non-weird future get here as fast as possible.”

From the Latin ‘aequivocare’, for ‘called by the same name’, to equivocate is to use language ambiguously to conceal a truth or avoid commitment to a single meaning. In this talk Daniel Rourke will consider equivocation in the performative (social media) speech acts of figures such as Donald Trump, Elon Musk, and Twitter CEO Jack Dorsey.

How their speech acts exposit a 'shared' future, or a means of ‘escaping’ our present conditions, has much to tell us about how the very idea of the ‘true’ or the ‘false’ has shifted in the era of algorithmic governance, and social media campaigns such as #MeToo.

Turning to Homi K. Bhabha's theories of postcolonial discourse, as well as introducing the project The 3D Additivist Manifesto – co-created with Morehshin Allahyari – Daniel will end by trying to reaffirm the equivocal act, pointing out a way to generate and move toward non-determinate futures without imperialising them.

BIO: Dr. Daniel Rourke is a writer/artist and co-convener of Digital Media (MA) at Goldsmiths. In his work Daniel creates collaborative frameworks and theoretical toolsets for exploring the intersection of digital materiality, the arts, and posthumanism. These frameworks often hinge on speculative elements taken from science fiction and pop culture: fictional figures and fabulations that might offer a glimpse of a radical ‘outside’ to the human(ities). His writing and artistic profile includes work with AND Festival, The V&A, FACT Liverpool, Arebyte gallery, Centre Pompidou, Transmediale, Tate Modern, Sonic Acts Festival, as well as recent artistic collaborations with a cast of hundreds... web: machinemachine.net.

Presented by the Art Department, Goldsmiths.

Genetic-ancestry tests are having a moment. Look no further than Spotify: On Thursday, the music-streaming service—as in, the service used to fill tedious workdays and DJ parties—launched a collaboration with AncestryDNA.

What does a real man do when things get tough at home? Runs out to buy cigarettes. Or so goes the male fantasy, as Sarah Sharma argued in her 2017 keynote lecture for the annual Marshall McLuhan salon, a collaboration between transmediale and the Embassy of Canada.

The New Observatory opened at FACT, Liverpool on Thursday 22nd of June and runs until October 1st. The exhibition, curated by Hannah Redler Hawes and Sam Skinner, in collaboration with The Open Data Institute, transforms the FACT galleries into a playground of micro-observatories, fusing art with data science in an attempt to expand the reach of both. Reflecting on the democratisation of tools which allow new ways of sensing and analysing, The New Observatory asks visitors to reconsider raw, taciturn ‘data’ through a variety of vibrant, surprising, and often ingenious artistic affects and interactions. What does it mean for us to become observers of ourselves? What role does the imagination have to play in the construction of a reality accessed via data infrastructures, algorithms, numbers, and mobile sensors? And how can the model of the observatory help us better understand how the non-human world already measures and aggregates information about itself? In its simplest form an observatory is merely an enduring location from which to view terrestrial or celestial phenomena. Stone circles, such as Stonehenge in the UK, were simple, but powerful, measuring tools, aligned to mark the arc of the sun, the moon or certain star systems as they careered across ancient skies. Today we observe the world with less monumental, but far more powerful, sensing tools. And the site of the observatory, once rooted to specific locations on an ever spinning Earth, has become as mobile and malleable as the clouds which once impeded our ancestors’ view of the summer solstice. The New Observatory considers how ubiquitous, and increasingly invisible, technologies of observation have impacted the scale at which we sense, measure, and predict. Citizen Sense, Dustbox (2016 – 2017). The New Observatory at FACT, 2017. Photo by Gareth Jones. The Citizen Sense research group, led by Jennifer Gabrys, presents Dustbox as part of the show. A project started in 2016 to give residents of Deptford, South London, the chance to measure air pollution in their neighbourhoods. Residents borrowed the Dustboxes from their local library, a series of beautiful, black ceramic sensor boxes shaped like air pollutant particles blown to macro scales. By visiting citizensense.net participants could watch their personal data aggregated and streamed with others to create a real-time data map of local air particulates. The collapse of the micro and the macro lends the project a surrealist quality. As thousands of data points coalesce to produce a shared vision of the invisible pollutants all around us, the pleasing dimples, spikes and impressions of each ceramic Dustbox give that infinitesimal world a cartoonish charisma. Encased in a glass display cabinet as part of the show, my desire to stroke and caress each Dustbox was strong. Like the protagonist in Richard Matheson’s 1956 novel The Shrinking Man, once the scale of the microscopic world was given a form my human body could empathise with, I wanted nothing more than to descend into that space, becoming a pollutant myself caught on Deptford winds. Moving from the microscopic to the scale of living systems, Julie Freeman’s 2015/2016 project, A Selfless Society, transforms the patterns of a naked mole-rat colony into an abstract minimalist animation projected into the gallery. Naked mole-rats are one of only two species of ‘eusocial’ mammals, living in shared underground burrows that distantly echo the patterns of other ‘superorganism’ colonies such as ants or bees. To be eusocial is to live and work for a single Queen, whose sole responsibility it is to breed and give birth on behalf of the colony. For A Selfless Society, Freeman attached Radio Frequency ID (RFID) chips to each non-breeding mole-rat, allowing their interactions to be logged as the colony went about its slippery subterranean business. The result is a meditation on the ‘missing’ data point: the Queen, whose entire existence is bolstered and maintained by the altruistic behaviours of her wrinkly, buck-teethed family. The work is accompanied by a series of naked mole-rat profile shots, in which the eyes of each creature have been redacted with a thick black line. Freeman’s playful anonymising gesture gives each mole-rat its due, reminding us that behind every model we impel on our data there exist countless, untold subjects bound to the bodies that compel the larger story to life.

James Coupe, A Machine for Living (2017). The New Observatory at FACT, 2017. Photo by Gareth Jones. Natasha Caruana’s works in the exhibition centre on the human phenomena of love, as understood through social datasets related to marriage and divorce. For her work Divorce Index Caruana translated data on a series of societal ‘pressures’ that are correlated with failed marriages – access to healthcare, gambling, unemployment – into a choreographed dance routine. To watch a video of the dance, enacted by Caruana and her husband, viewers must walk or stare through another work, Curtain of Broken Dreams, an interlinked collection of 1,560 pawned or discarded wedding rings. Both the works come out of a larger project the artist undertook in the lead-up to the 1st year anniversary of her own marriage. Having discovered that divorce rates were highest in the coastal towns of the UK, Caruana toured the country staying in a series of AirBnB house shares with men who had recently gone through a divorce. Her journey was plotted on dry statistical data related to one of the most significant and personal of human experiences, a neat juxtaposition that lends the work a surreal humour, without sentimentalising the experiences of either Caruana or the divorced men she came into contact with. Jeronimo Voss, Inverted Night Sky (2016). The New Observatory at FACT, 2017. Photo by Gareth Jones. The New Observatory features many screens, across which data visualisations bloom, or cameras look upwards, outwards or inwards. As part of the Libre Space Foundation artist Kei Kreutler installed an open networked satellite station on the roof of FACT, allowing visitors to the gallery a live view of the thousands of satellites that career across the heavens. For his Inverted Night Sky project, artist Jeronimo Voss presents a concave domed projection space, within which the workings of the Anton Pannekoek Institute for Astronomy teeter and glide. But perhaps the most striking, and prominent use of screens, is James Coupe’s work A Machine for Living. A four-storey wooden watchtower, dotted on all sides with widescreen displays wired into the topmost tower section, within which a bank of computer servers computes the goings on displayed to visitors. The installation is a monument to members of the public who work for Mechanical Turk, a crowdsourcing system run by corporate giant Amazon that connects an invisible workforce of online, human minions to individuals and businesses who can employ them to carry out their bidding. A Machine for Living is the result of James Coupe’s playful subversion of the system, in which he asked mTurk workers to observe and reflect on elements of their own daily lives. On the screens winding up the structure we watch mTurk workers narrating their dance moves as they jiggle on the sofa, we see workers stretching and labelling their yoga positions, or running through the meticulous steps that make up the algorithm of their dinner routine. The screens switch between users so regularly, and the tasks they carry out as so diverse and often surreal, that the installation acts as a miniature exhibition within an exhibition. A series of digital peepholes into the lives of a previously invisible workforce, their labour drafted into the manufacture of an observatory of observations, an artwork homage to the voyeurism that perpetuates so much of 21st century ‘online’ culture.

The New Observatory at FACT, 2017. Learning Space. Photo by Gareth Jones. The New Observatory is a rich and varied exhibition that calls on its visitors to reflect on, and interact more creatively with, the data that increasingly underpins and permeates our lives. The exhibition opened at FACT, Liverpool on Thursday 22nd of June and runs until October 1st.

The 3D Additivist Manifesto, written by Morehshin Allahyari and myself, was published as part of the Across & Beyond: A Transmediale Reader in February 2017. This collection of art and theory analyzes today’s post-digital conditions for critical media practices—moving across and beyond the analog and the digital, the human and the nonhuman. The contributions also look across and beyond the field of media art, staking out new paths for understanding and working in the transversal territories between theory, technology, and art. The concept of the post-digital is a way to critically take account of, contextualize, and shift the coordinates of new technologies as part of contemporary culture. The post-digital condition is not merely a theoretical issue but also a situation that affects conceptual and practice-based work. The program of the transmediale festival in Berlin, celebrating its thirtieth year in 2017, has reflected these changes, and this book gathers new contributions from theorists and artists that have taken part in the festival program over its past five editions. Divided into the thematic sections Imaginaries, Interventions, and Ecologies, the book is not a document of the festival itself but a standalone volume that explores the ongoing themes of transmediale in a book format. across and beyond is developed as a collaboration between transmediale and Winchester School of Art, University of Southampton. With contributions by Morehshin Allahyari and Daniel Rourke, Jamie Allen and David Gauthier, Clemens Apprich and Ned Rossiter, Tatiana Bazzichelli, Benjamin Bratton, Florian Cramer, Dieter Daniels, Geoffroy de Lagasnerie, Daphne Dragona, Keller Easterling, Olga Goriunova, Louis Henderson, Geraldine Juarez, Olia Lialina, Alessandro Ludovico, Rosa Menkman, Julian Oliver and Danja Vasiliev, Erica Scourti, Cornelia Sollfrank, Telekommunisten (Baruch Gottlieb and Dmytri Kleiner), Tiziana Terranova, YoHa (Graham Harwood and Matsuko Yokokoji) You can read the introductory essay to the book, Across and Beyond: Post-digital Practices, Concepts, and Institutions, by Ryan Bishop, Kristoffer Gansing and Jussi Parikka. Developed by transmediale and Winchester School of Art, University of Southampton Edited by Ryan Bishop, Kristoffer Gansing, Jussi Parikka, Elvia Wilk Order your copy here or grab it at transmediale 2017 ever elusive. Please note: between 25 January and 6 February no copies will be sent out.

Publisher: Sternberg Press and transmediale e.V.

Design: The Laboratory of Manuel Bürger, Stefanie Ackermann, Manuel Bürger

On the Far Side of the Marchlands, Berlin (Feb 1st - March 26th)Exhibition opening Wednesday, February 1st (opening from 6pm) - March 26thErnst Schering Foundation> Facebook Event Page>

More info: additivism.org/marchlands

with works by Morehshin Allahyari, Cathrine Disney, Keeley Haftner, Brittany Ransom and Daniel Rourke

A ‘marchland’ is a medieval term for a space between two or more realms; a zone betwixt the control of states, in which alternate rules of law and conduct might apply. On the Far Side of the Marchlands explores the potential of radically new topographies – “intertwined histories and overlapping territories” – composed of hybrid realms of experience, culture and materiality.

On the Far Side of the Marchlands - an exhibition and collaboration between Morehshin Allahyari, Cathrine Disney, Keeley Haftner, Brittany Ransom, and Daniel Rourke - speaks to the contemporary desire for transformation. The exhibition features a zoo of hybrid figures: from stupid/intelligent insects to short-sighted/forward-thinking posthumans; from chimera materials that ooze, respire and transmute, to murky politics impossible to clarify as either positive or negative. On the Far Side of the Marchlands expands on the material and conceptual hybridity expressed in The 3D Additivist Cookbook: a compendium of provocative projects by over one hundred artists, activists, and theorists concerned with ‘Additivist’ practices. The exhibition and Cookbook invite visitors to look beyond boundaries, speaking to a growing need for radical forms of transformation.The 3D Additivist Cookbook, conceived and edited by Daniel Rourke & Morehshin Allahyari, is also presented in the exhibition alien matter (Haus der Kulturen der Welt, 2 February – 5 March 2017), curated by Inke Arns. On the Far Side of the Marchlands is a partner exhibition to the special exhibition alien matter, co-financed by Berlin LOTTO Foundation within the scope of ever elusive – thirty years of transmediale, supported by the British Council.

Additivism Talk at Spike Island, Bristol (11th July 2016)On July 11th at Spike Island, Bristol, Daniel Rourke will present his ongoing collaboration with Morehshin Allahyari: The 3D Additivist Manifesto and forthcoming Cookbook. A call to push 3D printing and additive technologies to their absolute limits and beyond, into the realm of the speculative, the provocative and the weird.Drawing metaphoric connections between Additive manufacturing and Geological processes, Daniel will talk about plastic, deep time and the incidental production of ‘pseudomorphs’ – destined to outlast the humans that create them.“The fate of ‘man’ in the Anthropocene is not that he will be erased, but that he will be made immortal, as a trace preserved forever in the rock.”- Bronislaw Szerszynski, The End of the End of Nature: The Anthropocene and the Fate of the Human, (2012) Book your place!This event is part of Point Line Time, a drawing research project led by artist and writer Tamarin Norwood as part of her twelve-month residency at Spike Island, Bristol. Throughout her residency, Norwood is working with a network of researchers and practitioners including an animator, a 3D print engineer, a choreographer and a sign language translator to explore the acts of drawing and writing in relation to time and three-dimensional space. She hosts a series of public conversations, presentations and live experiments as she develops a new body of work.

When I read Donna Haraway's Manifesto for Cyborgs in 1989, I was intrigued and inspired. Here was a piece that resonated with my political, feminist and moral values.

with: Jean-Marie Boyer, Ewen Chardronnet, Nicolas Maigret, Daniel Rourke, Erin Sexton; moderated by Ryan Bishop

Disnovation Research is a project inquiring into the mechanics and rhetoric of innovation. Considering the "propaganda of innovation" as one of the ideological driving forces of our era, it aims to explore the notions of technological fetishism and solutionism through speculations and diversions by artists and thinkers.

The performance Drone-2000 presents a bestiary of autonomous flying systems powered by dysfunctional algorithms. Here, trusting the autonomy of the machine is not only a discursive concept but a real-life experience shared with the audience, triggering visceral and psychological reactions.

The Disnovation panel highlighted a few outstanding projects on this issue, with Daniel Rourke introducing the #Additivism speculative research project – a collaboration with artist and activist Morehshin Allahyari – followed by Ewen Chardronnet presenting the fifth issue of the Laboratory Planet newspaper.

Haus der Kulturen der Welt Thursday, 4 February 2016

SONIC ACTS ACADEMY #Additivism: An Encounter with The Fluid Outside 28 February 2016 - De Brakke Grond, Amsterdam, the Netherlands --- A talk and Q&A session by Morehshin Allahyari and Daniel Rourke about The 3D Additivist Manifesto + The 3D Additivist Cookbook and the artist’s own research and practice in relationship to #Additivism, activism, and critical/poetic approaches to 3D printing. #Additivism is a collaboration between artist and activist Morehshin Allahyari and writer/artist/academic Daniel Rourke. In March 2015 they released The 3D Additivist Manifesto: a call to push additive manufacturing technologies to their absolute limits and beyond, into the realm of the speculative, the provocative and the weird. They then issued a call for submissions for a radical ‘Cookbook‘ of blueprints, designs, 3D print templates, and essays on the topics raised by their Manifesto including text and projects on environmental ethics, objects in movements for social and political change, the renewed contemporary significance of the artist manifesto by the likes of the Accelerationist and Xenofeminist movements, and the potential of radical intervention in contemporary technocapitalism.Cast: Sonic Acts

Additivism on Disnovation Research panel @ Transmediale, Berlin (4th Feb 2016)#Additivism will be part of the Disnovation Research Panel at the upcoming Transmediale Festival. Disnovation Research is a project by Nicolas Maigret inquiring into the mechanics and rhetoric of innovation. Considering the “propaganda of innovation” as one of the ideological driving forces of our era, it aims to explore the notions of technological fetishism and solutionism through speculations and diversions by artists and thinkers. The Disnovation panel will highlight a few outstanding projects on this issue, with Daniel Rourke introducing the #Additivism speculative research project – a collaboration with artist and activist Morehshin

Allahyari – followed by Ewen Chardronnet presenting the fifth issue of the Laboratory Planet newspaper.

Kelly Jazvac, “Plastiglomerate Samples” (2013), plastic and beach sediment, including sand, basalt rock, wood and coral. All of these found-object artworks are the results of a collaboration between Jazvac, geologist Patricia Corcoran, and oceanographer Charles Moore.

In the days of old, deep in the dredges of the "Do the Bartman" VHS, there was a trailer. In partnership with Chicken Tonight, Butterfinger, and CC Lemon, the early 90s execs of Fox and Toho made an animated short. An attempt to appeal to American consumers without having to spend a lot of money. Until a changing of the guard decided the kids needed more Poochie and it was lost...until today. -- Bartkira is an animated parody mash-up of The Simpsons and Akira. Based on an idea by Ryan Humphrey articulated through comics, the concept was expanded with the Bartkira project, a comic collaboration of Simpsons fans, curated by James Harvey. In association with the comic, Moon Animate Make-Up producer Kaitlin Sullivan pitched the idea of an animated trailer to match and with the work of over fifty artists, produced the Bartkira animated trailer. It is in no way officially associated with Fox Animation, Toho, or any other legal properties that own the rights to The Simpsons and Akira. We are a bunch of fans who did this for free and are profiting in no way off of this other than having a larf. For more information on Bartkira, you can visit these sites: bartkira.com/ bartkira.tumblr.com/ bartkiraroadshow.tumblr.com/Cast: Kaitlin SullivanTags: bartkira, animation, animation collaboration, the simpsons, akira, bart simpson and milhouse

May 21th 2015 BAK, basis voor actuele kunst, Utrecht invites you to join the series of presentations, conversations, seminars, and workshops Posthuman Glossary. The series takes place in the form of intensive two-day gatherings with artists, scholars, and activists around the critical issues of posthumanity in present-day artistic and intellectual work on 21–22 May, 28–29 May, 11–12 June, and 18–19 June 2015. Posthuman Glossary is a part of BAK’s research program Future Vocabularies (2014–2016) and its chapter Human-Inhuman-Posthuman, which is developed in dialogue with BAK Research Fellow Professor Rosi Braidotti and organized in collaboration with the Centre for the Humanities, Utrecht University, Utrecht. The series leads to the publishing of the Posthuman Glossary in 2016, edited by Braidotti and BAK’s Artistic Director Maria Hlavajova.Cast: BAK, basis voor actuele kunst and Openwebcast.nlTags: BAK and Utrecht