I am honestly not sure whether fish have any concept of bees. I am equally unsure whether bees have any concept of fish. I am even more unsure whether bees and fish could be friends, if they knew that the other existed. But thanks to robots, it turns out that the answer is definitely yes.

Neil deGrasse Tyson was once asked about his thoughts on the cosmos. In a slow, gloomy voice, he intoned, “The universe is a deadly place. At every opportunity, it’s trying to kill us. And so is Earth. From sinkholes to tornadoes, hurricanes, volcanoes, tsunamis.

POSTmatter x fig-2 Live Collaborative Writing

This is the written version of a , at the dConstruct conference in Brighton, England. In 1967, Gene Roddenberry launched a TV show that had a massive cultural impact. While it wasn’t a hit during its original run, it kindled the imagination in a way few other television programs had.

The 3D Additivist Manifesto was created in collaboration with Morehshin Allahyari, with sound design by Andrea Young

The 3D Additivist Manifesto + Cookbook blur the boundaries between art, engineering, science fiction, and digital aesthetics. We call for you – artists, activists, designers, and critical engineers – to accelerate the 3D printer and other Additivist technologies to their absolute limits and beyond into the realm of the speculative, the provocative and the weird. Answer the call: 3d.additivism.org

Additivism is essential for accelerating the emergence and encounter with The Radical Outside.

Minute #1. Kevin Heckart Minute #2. Geraldine Juárez Minute #3. Gaby Cepeda Minute #4. Angela Washko Minute #5. Emilie Gervais Minute #6. LaTurbo Avedon Minute #7. Lyla Rye Minute #8. Mattie Hillock Minute #9. Antonio Roberts Minute #10. Georges Jacotey Minute #11. Daniel Rourke Minute #12. Sandra Rechico & Annie Onyi Cheung Minute #13. Yoshi Sodeoka Minute #14. Alma Alloro Minute #15. LoVid Minute #16. Andrea Crespo Minute #17. Ad Minoliti Minute #18. Arjun Ram Srivatsa Minute #19. Carrie Gates Minute #20. Isabella Streffen Minute #21. Esteban Ottaso Minute #22. Silke Zil Kuhar ZIL & ZOY Minute #23. Hyo Myoung Kim Minute #24. Jesse Darling Minute #25. Tristan Stevens Minute #26. Erica Lapadat-Janzen Minute #27. Claudia Hart Minute #28. Anthony AntonellisCast: Lorna MillsTags:

I am privileged to be involved in Ways of Something: an incredible collaboration between artist Lorna Mills and (currently) 85 artists. Episode 3 will have its World Premiere at The Photographer’s Gallery, London, on February 12th 2015. 85 web-based artists remake John Berger’s historic documentary ‘Ways of Seeing’ (1972) one minute at a time. Originally commissioned by The One Minutes, at Sandberg Instituut in Amsterdam and compiled by Lorna Mills, the episodes present a sequence of 3D renderings, filmic remixes, videos and webcam performances which subvert the tropes of art history in an entertaining and overwhelming way. Followed by a Q&A between Julia van Mourik, director of The One Minutes and Lorna Mills via Skype.

Artists in Episode 1 1: Daniel Temkin, 2: Rollin Leonard, 3: Sara Ludy, 4: Rhett Jones, 5: Jaakko Pallasvuo, 6: Dafna Ganani, 7: Jennifer Chan, 8: Rea McNamara, 9: Theodore Darst, 10: Matthew Williamson, 11: Hector Llanquin, 12: Christina Entcheva, 13: V5MT, 14: Marisa Olson, 15: Joe McKay, 16: Carla Gannis, 17: Nicholas O’Brien, 18: Eva Papamargariti, 19: Rosa Menkman, 20: Kristin Lucas, 21: Jeremy Bailey & Kristen D. Schaffer, 22: Giselle Zatonyl, 23: Paul Wong, 24: Alfredo Salazar-Caro, 25: Sally McKay, 26: RM Vaughan & Keith Cole, 27: Andrew Benson, 28: Christian Petersen, 29: Faith Holland, 30: Jennifer McMackon Artists in Episode 2 1: Kevin Heckart, 2: Geraldine Juarez, 3: Gaby Cepeda, 4: Angela Washko, 5: Emilie Gervais, 6: LaTurbo Avedon, 7: Lyla Rye, 8: Mattie Hillock, 9: Antonio Roberts, 10: Georges Jacotey, 11: Daniel Rourke, 12: Sandra Rechico & Annie Onyi Cheung, 13: Yoshi Sodeoka, 14: Alma Alloro, 15: LoVid, 16: Andrea Crespo, 17: Ad Minoliti, 18: Arjun Ram Srivatsa, 19: Carrie Gates, 20: Isabella Streffen, 21: Esteban Ottaso, 22: ZIL & ZOY, 23: Hyo Myoung Kim, 24: Jesse Darling, 25: Tristan Stevens, 26: Erica Lapadat-Janzen, 27: Claudia Hart, 28: Anthony Antonellis Artists in Episode 3 1: Carine Santi-Weil, 2: Nicolas Sassoon, 3: Tom Sherman, 4: Kim Asendorf and Ole Fach, 5: Rafaela Kino, 6: Alex McLeod, 7: Kate Wilson and Lynne Slater, 8: Aleksandra Domanović, 9: Systaime, 10: Erik Zepka, 11: Adam Ferriss, 12: Rodell Warner and Arnaldo James, 13: Debora Delmar, 14: Brenna Murphy, 15: Nick Briz, 16: Carlos Sáez, 17: Jenn E Norton, 18: Juliette Bonneviot, 19: Luis Nava, 20: Vince McKelvie; 21: Claudia Maté 22: Evan Roth, 23: Shana Moulton, 24: Sabrina Ratté, 25: Jordan Tannahill, 26: Vasily Zaitsev feat.MON3Y.us, 27: Ann Hirsch REVIEWS - Read an interview with Lorna Mills about Ways Of Something on The Creators Project. Read here. - Ben Davis wrote an essay looking at the first two episodes on artnet. Read here. - The project was also featured by Animal New York here.

Julia van Mourik is an independent curator and editor, based in Amsterdam. Since 1999, she has produced visual arts projects and has composed programmes and publications, exploring new possibilities for presenting the moving image. She is Director of The One Minutes, a place for artists to experiment, to produce and to present within the inexorable limit of 60 seconds, hosted by Sandberg Instituut, Masters of Art and Design in Amsterdam (NL). She is also director of the Lost & Found programme, where artists show material that doesn’t fit comfortably into regular gallery contexts, that seems out of place. And she is Adviser to the to the Dutch Cultural Media Fund, promoting the development and production of high-quality artistic programmes by the national public broadcasting corporations. Lorna Mills has actively exhibited her work internationally in both solo and group exhibitions since the early 1990’s. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film & video, and obsessive on-line animated GIFs incorporated into restrained off-line installation work. She has also co-curated monthly group animated GIF projections with Rea McNamara for the Sheroes performance series in Toronto, a group GIF projection event When Analog Was Periodical in Berlin co-curated with Anthony Antonellis, and a touring four person GIF installation, :::Zip The Bright:::, that originated at Trinity Square Video in Toronto. In June 2013, Mills opened a solo exhibition ‘The Axis of Something’ at TRANSFER, her work was exhibited by the gallery at the Moving Image Art Fair NYC in March 2014, and her second solo show for TRANSFER is currently in development for 2015.  Her most recent solo project was Ungentrified a large GIF projection installation at OCADU in Toronto for Nuit Blanche. £7 / £4 concs Episodes 1 and 2 are produced by The One Minutes at the Sandberg Instituut in Amsterdam. Episode 3 is produced by Lorna Mills.        

In a paper published last year, I argued for a different way of understanding the emergence of hacker culture.

Shiraz Art House • Daralhokoomeh Project • May/June 2014 As part of Bitrates - an exhibition curated by Morehshin Allahyari and Mani Nilchiani at the Dar-ol-Hokoomeh Project, Shiraz, Iran – I asked 50 artists to create or curate an animated GIF with a short snippet of audio, to be looped together ad infinitum at GIFbites.com. For the opening of Bitrates on May 23rd a select version of this project will be displayed in the gallery, followed by a complete showcase of all the GIFs for the GIFbites exhibition, opening on May 30th in Shiraz Art House (Daralhokoomeh Project). GIFbites In an era of ubiquitous internet access and the extensive post-production of HD and 3D images, the animated GIF has an ironic status. Small in dimension and able to be squeezed through the slenderest of bandwidths, GIFs hark back to a World Wide Web designed for 640×480 pixel screens; a web of scrolling text, and not much else. Brought on – ironically – by their obsolescence the animated GIF has become a primary medium of communication on the contemporary net. The simplicity, freedom and openness of the medium allows even the most amateur web enthusiast to recuperate images plucked from TV, cinema, YouTube, CCTV footage, cartoons, videogames and elsewhere in their desire to communicate an idea or exclamation to the world. GIFbites is a mesmerising homage to brevity and the potential of poor, degraded images to speak beyond the apparent means of their bitrates. The results will hopefully navigate the web for many years to come, stimulating cut-and-paste conversations undefinable by Google’s search algorithms. GIFbites Project Page • بیت بر ثانیه / Bitrates Facebook Event Coming Soon: Bitrates/GIFbites Lp! Featuring the work of 50 artists

Morehshin Allahyari Mizaru/Kikazaru/Kyoungzaru Kim Asendorf & Ole Fach

Eltons Kuns Anthony Antonellis Lawrence Lek

LaTurbo Avedon Gretta Louw Jeremy Bailey

Sam Meech Alison Bennett Rosa Menkman

Emma Bennett A Bill Miller Benjamin Berg

Lorna Mills Hannah Black Shay Moradi

Andrew Blanton Nora O Murchú Nicolas Boillot

Alex Myers Tim Booth Peggy Nelson

Sid Branca David Panos Nick Briz

Eva Papamargariti elixirix Holly Pester

Jennifer Chan Antonio Roberts Theodore Darst

Daniel Rourke Angelina Fernandez Alfredo Salazar-Caro

Annabel Frearson Rafia Santana Carla Gannis

Jon Satrom Emilie Gervais Erica Scourti

Shawné Michaelain Holloway Krystal South Nathan Jones

Arjun Ram Srivatsa Nick Kegeyan Linda Stupart

Jimmy Kipple Sound Daniel Temkin

Internet users with no scientific training have helped discover a new type of galaxy and crack a problem in protein biochemistry that stumped experts, thanks to the power of the internet.

Networked science, also called open science, makes use of collaborative tools such as wikis, blogs, online databases, and games to tap the collective talents or intelligence of many people, including non-scientists — sometimes hundreds of thousands of them — in the pursuit of scientific discoveries.

This is an extract from a collaborative text I recently worked on, to be published (soon) in Texte Zur Kunst : The animal of research, being nourished from its root, springs up from the dirt of discourse, the direction of growth pandering to a supposed head. “Humans see the world through language, but do not see language.” [1] What exactly do the bees mean when they pollinate the blossom?

Saturday 2nd April : Come and join us a for an afternoon of GLTI.CH KARAOKE! GLTI.CH KARAOKE will be hosting this live karaoke event in conjunction with the citizens of Kumamoto City, Japan. All proceeds raised at Glitch Karaoke will go to The Japan Society Tohoku Earthquake Relief Fund. Defy human spacetime by warbling Elvis, the Spice Girls, and Beat Crusaders with friends in London and Kumamoto at the Meanwhile Space (Whitechapel) at the End of the Universe with the power of Skype, hand-me-down computers, and mutual love of amateur live singing. Free to attend, donations encouraged. There will be drinking and singing, but no pressure to do either! The event kicks off at 12 Midday, Meanwhile Space, 3-5 Whitechapel Road, London

WHAT ON EARTH IS GLTI.CH KARAOKE?

GLTI.CH KARAOKE is a virtual jukebox oozing with time-delayed, glitchy fun. Streaming live, over the web, London and Kumamoto will be joined in a sing off to end all sing offs. GLTI.CH KARAOKE will take place in Meanwhile’s underground space where the nine hour difference between the UK and Japan becomes meaningless, and all that matters is that the interwebs keep running and the participants keep on singing.

If you have a favourite song you’d like to see at GLTI.CH KARAOKE, send us the YouTube video or post it here. Language is no barrier – just as long as you can find it on YouTube, we’ll try and sing it! FOLLOW GLTICH KARAOKE AT twitter @gltich visit our website GLTI.CH and invite your friends via our Facebook Event Page

It used to be so simple. A book had an author; a film, a screenwriter and director; a piece of music, a composer and performer; a painting or sculpture, an artist; a play, a playwright. You could assume that the work actually erupted more or less full-blown from these folks. In addition, the book, film, musical composition, painting or play was a discrete object or event that existed in time and space. You could hold it in your hands or watch or listen to it in a theater or your living room. It didn't really change over time unless the artist decided to revise it or a performer reinterpreted it.

Well, not any more. For years now numerous observers have described the process by which the very fundaments of art are changing from the old principle of one man, one creation. Songs have remixes through which anyone so disposed can alter the original music; videos have mash-ups that use footage to reposition and change the original meaning; the visual arts have communal canvases and websites

Human evolution presents a puzzle. Nothing seems to explain the sudden takeoff of the last 45,000 years—the conversion of just another rare predatory ape into a planet dominator with rapidly progressing technologies. Once "progress" started to produce new tools, different ways of life and burgeoning populations, it accelerated all over the world, culminating in agriculture, cities, literacy and all the rest. Yet all the ingredients of human success—tool making, big brains, culture, fire, even language—seem to have been in place half a million years before and nothing happened. Tools were made to the same monotonous design for hundreds of thousands of years and the ecological impact of people was minimal. Then suddenly—bang!—culture exploded, starting in Africa. Why then, why there?

Chto delat? / What is to be done? was founded in early 2003 in Petersburg by a workgroup of artists, critics, philosophers, and writers from Petersburg, Moscow, and Nizhny Novgorod (see full list of participants on the web site) with the goal of merging political theory, art, and activism.

Since then, Chto delat has been publishing an English-Russian newspaper on issues central to engaged culture, with a special focus on the relationship between a repoliticization of Russian intellectual culture and its broader international context. These newspapers are usually produced in the context of collective initiatives such as art projects or conferences.

It’s not too often that legacy media learns a new mass communication tool along with its audience. But that’s exactly what’s going on now because of Google Wave. Although it’s still invitation only and in preview, the real-time wiki collaboration platform is being used by some media companies for community building, real-time discussion, crowdsourcing, collaboration both inside and outside the newsroom, and for cross publishing content.

Google Wave (Google Wave) may seem familiar to older users of the Internet, who have been using the parts that make up the whole of the platform for years. Wave, however, brings those pieces together cohesively to allow users to share photos, embed videos, and converge other Google (Google) applications such as Google Maps (Google Maps) and Google Calendar to create customized blocks of user-editable content on the fly. Here are four ways that newsrooms are using Wave.

Yet again, Wikipedia is about to break new ground. The website that has become one of the biggest open repositories of knowledge is due – within the next week or so – to hit the mark of 3m articles in English. It's all a very long way from January 2001, when Wikipedia launched. Its first million articles took five years to put together, but the second was achieved by 2007. It was not just the number of articles that grew, but also the number of people involved in creating them. During Wikipedia's first burst of activity between 2004 and 2007, the number of active users on the site rocketed from just a few thousand to more than 300,000. However, statistics released by the site's analytics team suggest Wikipedia's explosive growth is all but finished. The quickening pace that helped the site reach the 2m article milestone just 17 months after breaking the 1m barrier suddenly evaporated: adding the next million has taken nearly two years. While the encyclopedia is still growing overall, t

In Bb 2.0 is a collaborative music and spoken word project conceived by Darren Solomon from Science for Girls, and developed with contributions from users.

The videos can be played simultaneously -- the soundtracks will work together, and the mix can be adjusted with the individual volume sliders.