MachineMachine /stream - tagged with art en-us LifePress <![CDATA[Cyberfeminism Index]]>

Cyberfeminism Index is INCOMPLETE and ALWAYS IN PROGRESS. Commissioned by Rhizome, it premiered with New Museum’s First Look. The printed publication Cyberfeminism Catalog will be published by Inventory Press in 2022. Please feel welcome to contribute using the “submit” button at the bottom of all pages.


Cyberfeminism cannot be reduced to women and technology. Nor is it about the diffusion of feminism through technology. Combining cyber and feminism was meant as an oxymoron or provocation, a critique of the cyberbabes and fembots that stocked the sci-fi landscapes of the 1980s. The term is self-reflexive: technology is not only the subject of cyberfeminism, but its means of transmission. It’s all about feedback.

Thu, 22 Oct 2020 11:59:18 -0700
<![CDATA[An Open P2P Resource for AI technology: Art, Academia and Activism – Marc Garrett. Exploring Class in Postdigital Cultures]]>

An open knowledge list for all to add to, use, and share with others.

Wed, 14 Oct 2020 23:59:31 -0700
<![CDATA[Seeing Our Own Reflection in the Birth of the Self-Portrait - The New York Times]]>

Who are you, and what are you doing here? You, there in the mirror, there in the lens of your phone: What do you see? In the eyes of us poor moderns, it seems self-evident that a picture can capture who you are.

Sun, 04 Oct 2020 23:13:18 -0700
<![CDATA[Probably the Only List of Artist Films You’ll Ever Need - ELEPHANT]]>

We’ll be honest. The initial plan was to write a critical gaze over art docs. Not the schlocky biopics, or dewy-eyed reminisces of certain “scenes”, eras or places, but more straightforward (if beautiful) documentaries.

Thu, 23 Apr 2020 09:34:34 -0700
<![CDATA[Probably the Only List of Artist Films You’ll Ever Need - ELEPHANT]]>

We’ll be honest. The initial plan was to write a critical gaze over art docs. Not the schlocky biopics, or dewy-eyed reminisces of certain “scenes”, eras or places, but more straightforward (if beautiful) documentaries.

Thu, 23 Apr 2020 02:34:34 -0700
<![CDATA[How big tech hijacked its sharpest, funniest critics - MIT Technology Review]]>

Bruce Sterling wasn’t originally meant to be part of the discussion. It was March 13, 2010, in Austin, Texas, and a small group of designers were on stage at the South by Southwest interactive festival, talking about an emerging discipline they called “design fiction.”

Sat, 22 Feb 2020 08:46:22 -0800
<![CDATA[Hack the Planet: Tega Brain on Leaks, Glitches, and Preposterous Futures]]>

While technology critics drag technological solutionism in five thousand words or 280 characters, artist and environmental engineer Tega Brain wields solutions against themselves, in the form of objects and installations.

Fri, 14 Feb 2020 05:36:21 -0800
<![CDATA[introducing Media Art — jonCates (2019) - jonCates - Medium]]>

jonCatesAug 21 · 7 min readover the last 15 years of my full-time teaching, i’ve collected, compiled, and processed a number of different ways and approaches for introducing students to Media Art in terms of the aestheticonceptechniques and the theorypractices.

Thu, 22 Aug 2019 05:47:41 -0700
<![CDATA[Firing Blanks: Hito Steyerl and the Voiding of Research Art - Momus]]>

We’ve all heard the statistics. That in America, there is a mass shooting every day, that one hundred Americans die from gun violence daily, that access to a gun doubles and triples the risks of death by homicide and suicide respectively.

Wed, 17 Jul 2019 10:11:32 -0700
<![CDATA[The White Pube | Are White Girls Capable of Making Art Not About Them?]]>

Are White Girls Capable of Making Art That’s Not About themselves?? Are White Girls Capable of Making Art That’s Not About themselves??

Mon, 01 Jul 2019 07:34:34 -0700
<![CDATA[Closing the Loop – The New Inquiry]]>

“The black female’s body needs less to be rescued from the masculine “gaze” than to be sprung from a historic script surrounding her with signification while at the same time, and not paradoxically, it erases her completely.

Mon, 01 Jul 2019 07:34:30 -0700
<![CDATA[Walk&Talk; - Arts Festival 2018]]>

(pt) Walk&Talk fala da ilha, fala de um lugar e de um momento que questiona noções de centro e de periferia, amplia as geografias do mundo e as histórias da arte. Uma vídeo-conversa entre pessoas que multiplicam as formas de habitar a ilha, sobre a nossa natureza, o poder de criar e os ritmos do tempo.

(en) Walk&Talk speaks from the island, speaks from a place and moment that questions notions of centre and of periphery, expands the geographies of the world and the histories of the art. A video-conversation between people who multiply the ways of inhabiting the island, about our nature, the power of creating and the pace of time.

/ Realização/Direction - Bernardo Bordalo, Rui Nó | Montagem/Editing - Bernardo Bordalo | Cinematografia/Cinematography - Cláudio Oliveira | Banda Sonora/Sound Track - Cláudio Oliveira | Sonoplastia/Sound Design - Claudio Oliveira | Tradução/Translation Luisa Cativo

Comissariado/Commissioned by Walk&Talk - Arts Festival Direção Artística/Artistic Direction Jesse James & Sofia Carolina Botelho

/ Ana Trincão - André Uerba - Alessandro Bartolazzo - António Torres – Casabranca - Camposaz - Caroline David - Cristóvão Ferreira - Conan Osiris - Dani Admiss - Daniel Rourke + Luiza Prado - Diana Vidrascu – Diogo Alvim - Elliot Sheedy - Filipe Pereira - Gustavo Ciríaco com/with Ana Trincão, Rodrigo Andreolli, Sara Zita Correia & Tiago Barbosa - Gonçalo Preto - Henrique Ferreira - João Mourão & Luis Silva - Kurt Woerpel - Lígia Soares - Lúcia Moniz - Luísa Salvador - Manuela Marques - Margarida Andrade - Maurícia Barreira Neves - Maya Saravia - Mezzo Atelier, Joana Oliveira & Giacomo Mezzadri - Michel Charlot - Miguel Flor - Miguel Damião - Mónica de Miranda - Nora Al-Badri + Nikolai Nelles - Pauliana Valente Pimentel - Pedro Penim com/with Bernardo de Lacerda & Frederico Serpa - Polliana Dalla Barba - Sascha Pohflepp & Chris Woebken - Shift Register, Jamie Allen & Martin Howse - Rodrigo Andreolli - Sara Zita Correia - Sofia Caetano - Teresa Silva - Tiago Barbosa - Tim Lahan - ThugUnicorn – UVA - Voyager - We Came from Space

Thu, 28 Mar 2019 09:40:15 -0700
<![CDATA[Wikipedia's Greatest Sex Illustrator Is an Anonymous Legend]]>

Take a look at the Wikipedia page for fisting. I'll wait. OK. Now check out pegging. When you're done there, have a gander at gokkun; after that, deep throating; and then maybe mammary intercourse, frot, tribadism, and tea bag (sexual act).

Thu, 28 Feb 2019 15:54:23 -0800
<![CDATA[list: SPAM as part of artistic practice]]>

examples of artists using sPaM as part of their artistic practice. (thinking: jodi, constant dullaarts army of bots, horse ebooks, bestiary of Spam),,,

Thu, 10 Jan 2019 03:49:15 -0800
<![CDATA[If You Don’t Have Bread, Eat Art!: Contemporary Art and Derivative Fascisms - Journal #76 October 2016 - e-flux]]>

Is art a currency? Investor Stefan Simchowitz thinks so. He wrote with uncompromising clarity about the post-Brexit era: “Art will effectively continue its structural function as an alternative currency that hedges against inflation and currency depreciation.

Wed, 12 Dec 2018 11:49:21 -0800
<![CDATA[‘It’s Time to Decolonize Environmentalism’: An Interview with Zina Saro-Wiwa | Frieze]]>

Skip to main content Advertisement More Like This Advertisement More Like This More Interviews See All

Tue, 09 Oct 2018 09:50:52 -0700
<![CDATA[Compression Aesthetics: Glitch From the Avant-Garde to Kanye West – InVisible Culture]]>

Carolyn L. Kane In a world that esteems technological efficiency, immediacy, and control, the advent of technical noise, glitch, and failure—no matter how colorful or disturbingly beautiful—are avoided at great costs.

Tue, 09 Oct 2018 09:50:47 -0700
<![CDATA[list: net-art]]>

Working on a project and am looking for good examples of net art/story telling works. Any suggestions?

Tue, 01 May 2018 04:55:20 -0700
<![CDATA[10. Salon Digital: #Additivism and the Art of Collective Survival - Daniel Rourke]]>

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

Mon, 16 Apr 2018 11:01:13 -0700
<![CDATA[The swiftness of glaciers: language in a time of climate change | Aeon Ideas]]>

Language bends and buckles under pressure of climate change. Take the adjective ‘glacial’. I recently came across an old draft of my PhD dissertation on which my advisor had scrawled the rebuke: ‘You’re proceeding at a glacial pace. You’re skating on thin ice.

Wed, 04 Apr 2018 08:08:47 -0700