MachineMachine /stream - tagged with interview en-us LifePress <![CDATA[Linda Hamilton Fled Hollywood, but ‘Terminator’ Still Found Her - The New York Times]]>

NEW ORLEANS — Linda Hamilton laughs the way Courtney Love sings, with great raspy bravado. It would be an intimidating laugh if it didn’t come easily, and if it weren’t so often offered at her own expense.

Wed, 04 Sep 2019 10:35:23 -0700
<![CDATA[Daniel Dennett interview]]>

Daniel Dennett talks to Jim Al-Khalili about the evolution of the human brain.

Thu, 15 Aug 2019 04:35:08 -0700
<![CDATA[Mark Fisher, on RWM podcast, 2012]]>

Mark Fisher is a writer, teacher and theorist living in Suffolk, England. His k-punk blog has been a well respected resource for cultural analysis on the web since its launch in 2003. In 2009, he published his first book, 'Capitalist Realism', where he explores the widespread sense that not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it. In it, Fisher analyses the role of the media, the education system, the link between Neoliberalism and brain chemistry, and what he calls business ontology 'in a world in which internment camps and franchise coffee bars co-exist.'

Thu, 02 May 2019 09:45:00 -0700
<![CDATA[‘It’s Time to Decolonize Environmentalism’: An Interview with Zina Saro-Wiwa | Frieze]]>

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Tue, 09 Oct 2018 09:50:52 -0700
<![CDATA[Glitch Feminism: An Interview With Legacy Russell]]>

Legacy Russell is a writer, artist and cultural producer. Her first book Glitch Feminism is forthcoming from Verso. A version of this interview first appeared in the chapter “Distracted to Attention: On Digital Reading” in The Digital Critic: Literary Culture Online (OR Books, 2017).

Tue, 13 Mar 2018 08:03:11 -0700
<![CDATA[Embracing plastic and the apocalypse: An interview with Morehshin Allahyari and Daniel Rourke]]>

Embracing plastic and the apocalypse: An interview with Morehshin Allahyari and Daniel Rourke

additivism is the bastard of these two visions. It conjures nightmares of toxic machines churning out guns, drugs, counterfeit cash and meaningless trash ad libitum. It also take its cue from additive manufacturing technology itself and suggests that small scale, cumulative actions have the potential to bring about bigger, more complex realities.

Wed, 20 Sep 2017 06:26:23 -0700
<![CDATA[On Climate / Borders / Survival / Care / Struggle | base]]>

In much of your writing, you talk about the relationship between mass migration and climate change. How can climate change be more consciously linked to existing opposition to borders and everyday struggle against the border regime?

Tue, 29 Aug 2017 04:49:28 -0700
<![CDATA[Radicalism Begins in the Body | Boston Review]]>íaz-samuel-r-delany-radicalism-begins-body

Junot Díaz interviews science fiction writer Samuel R. Delany about what it means to be an aging sex radical and why he wrote the essay “Ash Wednesday.” Junot Díaz: Chip, “Ash Wednesday” is a wonderful essay.

Thu, 08 Jun 2017 08:01:53 -0700íaz-samuel-r-delany-radicalism-begins-body
<![CDATA[Moreshin Allahyari: She Who Sees the Unknown, Ya’jooj Majooj]]>

Moreshin Allahyari: She Who Sees the Unknown, Ya’jooj Majooj An interview with the artist Moreshin Allahyari about her commission for The Photographers’ Gallery’s Media Wall - See Who Sees the Unknown, Ya'jooj Ma'jooj. Artwork © the artist, Video © The Photographers’ Gallery, 2017

Sat, 20 May 2017 16:14:49 -0700
<![CDATA[Morehshin Allahyari: She Who Sees the Unknown, Ya'jooj Majooj]]>

An interview with the artist Moreshin Allahyari about her commission for The Photographers' Gallery's Media Wall - See Who Sees the Unknown, Ya'jooj Ma'jooj. Artwork © the artist, Video © The Photographers' Gallery, 2017Cast: The Photographers' GalleryTags: Moreshin Allahyari, Ya'jooj Ma'jooj and The Photographers' Gallery

Sat, 20 May 2017 16:11:39 -0700
<![CDATA[The New Radical, Cody Wilson, and the future of 3D-printed guns - The Verge]]>

The mood in the room after an early Sundance screening of Adam Bhala Lough’s The New Radical was polite, but a little icy.

Sat, 28 Jan 2017 04:33:45 -0800
<![CDATA[Dark Matters: Hannah Gregory interviews Morehshin...]]>

Dark Matters: Hannah Gregory interviews Morehshin Allahyari Morehshin Allahyari left Iran in 2007 to pursue a critical artistic practice, choosing, in her words, ‘self-exile over self-censorship’. Her work holds technology as 'a philosophical toolset’ and 3D printing as a potential 'process for repairing history and memory’, levelling equal criticisms at both the oppression of religious dictatorship and the white-privileging worldviews of the technology and art industries.Dark Matter (2012­–14) was her first experiment with additive tech as political medium, in which Allahyari turned taboos of Iranian daily life – dogs, pigs, satellite dishes, and dildos – into absurdist 3D-printed amalgams. The widely acclaimed Material Speculation: ISIS series (2015–16) pieced together the histories of artefacts destroyed by the Islamic State in the ancient cities of Hatra and Nineveh, through in-depth research and correspondence with archaeologists, historians, and museum staff.The reconstructed replicas, printed in translucent resin, were embedded with a USB drive and flash card containing this gathered imagery and information ­– an act of memory preservation testament to the persistence of the digital copy. This interview discusses the foundations of Allahyari’s practice through an introduction to her new research project, which is rooted in refiguring Middle Eastern mythologies, and begins with the exhibition and video She Who Sees the Unknown, which Allahyari recently presented at New York’s Transfer Gallery.

Thu, 19 Jan 2017 10:08:55 -0800
<![CDATA[3D-Printing an Army of Forgotten Goddesses to Fight Colonialism]]>

When we think of powerful goddesses, the names of Athena, Artemis, Isis, or Kali may come to mind. Much less known, however, particularly to the Western world, are the names of such female figures of Middle-Eastern origin (those of ancient Egypt are a unique exception).

Tue, 27 Dec 2016 10:09:47 -0800
<![CDATA[On Material Entanglements: an Interview with Morehshin Allahyari]]>

On Material Entanglements: an Interview with Morehshin Allahyari Although we both live in the bay area, I got to Morehshin Allahyari’s work through an internet rabbit hole. Some months ago I picked up ‘Cyclonopedia’ by Reza Negarestani and got pretty engrossed by the book’s mix of fact and fiction. The story suggests that petrol functions as a lubricant necessary to spread an ancient evil throughout the world eventually leading into what he calls a desertification of the earth. a place where all will be flattened and ready for some sort of re-boot.

Sat, 17 Dec 2016 00:52:10 -0800
<![CDATA[The Anthropocene Marks the Failure of Capitalism, Not Mars-Bound Humanity | Inverse]]>

The Holocene is dead; welcome to the Anthropocene. Once a controversial stance, the notion that human activities have altered planetary geology adequately enough to warrant the demarcation of another epoch has more traction than the Mars Rover.

Fri, 04 Nov 2016 07:07:12 -0700
<![CDATA[Laboria Cuboniks in Conversation «DIS Magazine]]>

Laboria Cuboniks is currently a group of 6 women working together online to redefine a feminism adequate to the twenty-first century. They collectively wrote Xenofeminsim: A Politics for Alienation in 2014.

Wed, 07 Sep 2016 11:14:22 -0700
<![CDATA[What’s the Value of Recreating the Palmyra Arch with Digital...]]>

What’s the Value of Recreating the Palmyra Arch with Digital Technology?Seven months after ISIS destroyed Palmyra’s 1,800-year-old Arch of Triumph, the structure has risen once more — but this time 2,800 miles away from the ancient city, in London’s bustling Trafalgar Square.

Wed, 20 Apr 2016 05:51:49 -0700
<![CDATA[Kathy Acker Interviews the Spice Girls for Vogue... -]]> ]]> Sun, 06 Mar 2016 07:20:05 -0800 <![CDATA[Hyperallergic Interview: “Your Shiny Plastic Future Is a Load of Crap”]]>

“Your Shiny Plastic Future Is a Load of Crap”: #Additivism interviewed for HyperallergicGretta Louw interviewed us for Hyperallergic:It was hugely important to us that the manifesto undermine the position from which it is situated. We tried to show the limits and contradictions in our own thinking. The manifesto performs a critique of itself through irony, contradiction, and self-ridicule. The language of the manifesto breaks down and degrades, just like any system accelerated to its limits. Andrea Young’s amazing sound design for the video was also paramount in performing that quality.But I’m going to try to answer your question from more of a perspective of personal experience. One of the things that I have thought about the most in the last couple of years is the new potentials of species-being that new technologies facilitate. As a woman from the Middle East, I interact with a heteropatriarchy, capitalist, colonialist world, and so much of that experience creates a certain kind of alienation that is unique to my very personal/political experience. I deeply connect with a sentence in the Xenofeminism Manifesto — “If nature is unjust; change nature” — and Donna Haraway’s command to “Make Kin Not Babies!” For me, these two are about many things from the past that I want to resist and rebuild. With #Additivism, we want to explore ways of turning alienation into expressions of power.↪ Read the full interview here

Mon, 15 Feb 2016 08:23:00 -0800
<![CDATA[The Opium Wars, Neoliberalism, and the Anthropocene - The Los Angeles Review of Books]]>

IT IS HARD to simply skim through the materials on Amitav Ghosh’s website. The information is bountiful, and the data is incredibly varied, indexing the many dimensions of his oeuvre. One is forced to pause periodically to contemplate each new facet of Ghosh’s interests and writings.

Sat, 09 Jan 2016 08:17:00 -0800