For a manifesto to succeed, it must speak to our hearts like a poem while infecting the mind with images and ideas that are dazzlingly new.

From dragging steamboats over mountains, to holding Klaus Kinski at gunpoint, Herzog’s career has been guided by a quest for ‘ecstatic truth’, explored in a new exhibition at Amsterdam’s EYE Filmmuseum These interviews act as funny asides, embracing intense outsider figures the way Herzog al

To create is human. For the past 300,000 years we’ve been unique in our ability to make art, cuisine, manifestos, societies: to envision and craft something new where there was nothing before. Now we have company.

To create is human. For the past 300,000 years we’ve been unique in our ability to make art, cuisine, manifestos, societies: to envision and craft something new where there was nothing before. Now we have company.

This video critiques memes. It doesn't aim at judging which memes are based and which are cringe, nor at declaring this or that meme to be dead, but rather at explaining and critiquing the concept of the meme, starting with the original meaning as Richard Dawkins defined it.

Relevant Titles

The Memeing of Mark Fisher by Mike Watson https://www.waterstones.com/book/memeing-of-mark-fisher-the/mike-watson//9781789049336

Support Zero Books on Patreon: https://www.patreon.com/zerobooks Subscribe: http://bit.ly/SubZeroBooks Facebook: https://www.facebook.com/ZeroBooks/ Twitter: https://twitter.com/zer0books

Zero Books Manifesto:

The modern world is at an impasse. Disasters scroll across our smartphone screens and we’re invited to like, follow or upvote, but critical thinking is harder and harder to find. Rather than connecting us in common struggle and debate, the internet has sped up and deepened a long-standing process of alienation and atomization.

Zero Books aims to work against this trend.

Why can we imagine the ending of the world, yet not the ending of colonialism? We live the future of a past that is not our own. It is a history of utopian fantasies and apocalyptic idealization.

Why can we imagine the ending of the world, yet not the ending of colonialism? We live the future of a past that is not our own. It is a history of utopian fantasies and apocalyptic idealization.

Donna Haraway famously pronounced, “the boundary between science fiction and social reality is an optical illusion” in her influential A Cyborg Manifesto.

This website uses cookies to help us give you the best experience when you visit our website. By continuing to use this website, you consent to our use of these cookies. Bacchanal with Minotaur from the Vollard Suite, Pablo Picasso, 1933, published 1939, 34.

The Xenofeminist Manifesto claims, among many things, rationalism and technology as core to a renewed futurist feminist project. However, given the provenance of its moniker and its 'pro-enlightenment' position, Annie Goh asks, WTF exactly is XF?

Citation: Hanna, Julian. ““Future Shock”: Manifestos in the Digital Age.” Hyperrhiz: New Media Cultures no. 20, 2019. doi:10.20415/hyp/020.ex02 Abstract: The manifesto is currently one of most useful and vital online forms.

“Future Shock”: Manifestos in the Digital Age Citation: Hanna, Julian. ““Future Shock”: Manifestos in the Digital Age.” Hyperrhiz: New Media Cultures no. 20, 2019. doi:10.20415/hyp/020.ex02 Abstract: The manifesto is currently one of most useful and vital online forms.

The Manifesto of [the] Futurist Woman (Response to F. T. Marinetti) (1912) Humanity is mediocre. The majority of women are neither superior nor inferior to the majority of men. They are all equal. They all merit the same scorn.

Revised from “Donna Haraway and Cary Wolfe in Conversation”, Manifestly Haraway (University of Minnesota Press, 2016). Perhaps it is time to write a “Chthulucene Manifesto.” “My” Chthulucene is the time of mortal compositions at stake to and with each other.

“Ours is a world in vertigo. It is a world that swarms with technological mediation, interlacing our daily lives with abstraction, virtuality, and complexity.

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.

The doctrine of the Right-Hand Path is a theory of self-deification encompassing the entirety of the western hermetic tradition.

The nature of machine learning operations mean they will actually deepen some humanitarian problematics and introduce new ones of their own. This banality of machine learning is also its power. Small grocery shop in The Jungle refugee camp in Calais, 2015. Debets/Press Association.

In diesem Video geht es um den Salon Digital 10. Dokumentation des 10. Salon Digital an der Hochschule für Künste Bremen am 29.11.2017. Mit Daniel Rourke. / filmische Dokumentation: Eva Klauss Rather than try and solve the problems we face as a planetary species - political and social problems which have been with us for millennia; or problems which come with new, and shiny names like ‘The Anthropocene’ - Daniel Rourke and Morehshin Allahyari, in their #'Additivism project, look to question the very notion of ‘the solution’: asking how the stories our problem come wrapped in are products of particular privileges, identities, and points of view. In this talk Daniel Rourke introduces The 3D Additivist Manifesto and Cookbook, showcasing some of the 'post-solution' projects it contains, and asking difficult questions of how to act once there are no solutions left. What is #Additivism? In March 2015 Allahyari & Rourke released The 3D Additivist Manifesto, a call to push the 3D printer and other creative technologies, to their absolute limits and beyond into the realm of the speculative, the provocative and the weird. The 3D Additivist Cookbook is composed of responses to that call, an extensive catalog of digital forms, material actions, and post-humanist methodologies and impressions. - The program for Digital Media at the University of the Arts Bremen launched a regular series of salon-style gatherings titled “Spectacle: Reenactments in the Arts, Design, Science and Technology.” The events have an open format and provide a forum for experiments, presentations and performances from a range of different fields, but with a common focus on old and new media, as well as technologies. The salon thereby enables a practice of reenactment as a way to make things past and hidden visible, present and also questionable. Contemporary new technologies and media seem to cover knowledge with complex layers of materials, code/sign systems and history/organization. Reenacting can translate obscured knowledge, ideas and theories into bodies and actions. At the heart of this conceptual approach is a desire to turn past events into present experiences—although the very nature of the past prohibits such an endeavor. The salon pursues the primary goal of opening closed systems and constructions (black boxes). Global power structures, as well as complex processes in development and production—leading to hermetic constructs—have made it even harder to understand science, economy and contemporary media, as well as new technologies. Recipients therefore tend to mostly grasp only their superficial level. The spectacle is a way to condense actions and processes. Reenactment, on the other hand, builds on repetition and history. But the spectacle is a moment in the here and now where everything flows together and culminates. Organised by: Andrea Sick, Ralf Baecker und Dennis Paul salon-digital.comCast: Digitale Medien KuD der HfK

Joi Ito's Resisting Reduction manifesto rejects the idea of reducing the world to a series of computable relationships that will eventually be overtaken by our ability to manipulate them with computers ("the Singularity") and instead to view the world as full of irreducible complexities and "to d