If you haven’t seen them yet, the videos are mesmerizing. A content creator with long, straight hair sits at her kitchen table, rapidly stringing together nonsense catchphrases, over and over with the same cheerful expression and tone. “Yes yes yes. Mmm, ice cream so good.

A text written for IOCOSE‘s exhibition “All of Your Base” held at Aksioma Project Space in Ljubljana, 1 December 2021–14 January 2022.

Published as a PostScriptUM PDF and print-on-demand publication.

► WHY I WANT TO FUCK ELON MUSK ► eBROCHURE (PDF)► PRINT ON DEMAND [coming soon]► LIST ON ISSUU

In their space race the gurus of the NewSpace movement are expanding an imaginary that hybridizes individualism, libertarianism, neoliberal economics, counterculture and utopianism. “Why I Want to Fuck Elon Musk” plays with these cultural references, taking inspiration from the most emblematic statements spoken or tweeted by Elon Musk in recent years. Daniel Rourke, a London-based writer, artist and academic, has resorted to working with the OpenAI Generative Pre-trained Transformer 3 (GPT-3) language model to imagine and narrate chronicles from a near future in which blockchains have materialized and the deepfakes of Bezos and Musk have colonized Mars. The fictional universe thus created by human and non-human imagination builds a literary counterpart to IOCOSE’s latest works – the video animations Pointing at a New Planet (2020) and Free from History (2021) – presented on the occasion of the “All of Your Base” exhibition at Aksioma | Project Space in Ljubljana.

Download PDF (eBROCHURE) View on Aksioma website

In this essay, Amber Huff and Nathan Oxley reflect on questions that have emerged through Natures, the STEPS Centre’s theme throughout 2020.

A small shark spots its prey—a meaty, seemingly defenseless octopus. The shark ambushes, and then, in one of the most astonishing sequences in the series Blue Planet II, the octopus escapes. First, it shoves one of its arms into the predator’s vulnerable gills.

There was only one thing that I didn't like. In the very back of the garage, near the canisters, I could see something silvery. That hadn't been there before.

The Energetically Autonomous Tactical Robot (EATR) was a project by Robotic Technology Inc. (RTI) and Cyclone Power Technologies Inc. to develop a robotic vehicle that could forage for plant biomass to fuel itself, theoretically operating indefinitely.

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.

At first glance, the hagfish—a sinuous, tubular animal with pink-grey skin and a paddle-shaped tail—looks very much like an eel. Naturalists can tell the two apart because hagfish, unlike other fish, lack backbones (and, also, jaws). For everyone else, there’s an even easier method.

A biologist enters mysterious territory on a mission to comprehend the incomprehensible. Together with three colleagues—an anthropologist, a psychologist, and a surveyor—she crosses an imperceptible border into a region known as Area X. They are the twelfth expedition to cross the border.

When imagining civilizations on other worlds, we tend to stick to the familiar. Aliens in the popular imagination are not all that different from us — they often have eyes and ears, walk on two feet, and understand the universe in roughly the same way we do.

In the online art workshops of the white nationalist alt right, young neo-Nazis and neo-fascists trade simple aesthetic tips: Consider your color scheme in advance, build your image in sections of thirds, abandon gradients and add a soft stroke to the text.

In 2016, Marshall University professor Jason Morrissette was playing Batman: Arkham Knight. While sneaking around the shadows, Morrissette stumbled upon a soda machine. Like many games, Akrham Knight doesn’t feature any real-life soda products; that’d cost money.

ON AN UNSEASONABLY WARM day in the middle of March, I traveled from New Hampshire to the moist, dim sanctuary of the New England Aquarium, hoping to touch an alternate reality. I came to meet Athena, the aquarium’s forty-pound, five-foot-long, two-and-a-half-year-old giant Pacific octopus.

ON AN UNSEASONABLY WARM day in the middle of March, I traveled from New Hampshire to the moist, dim sanctuary of the New England Aquarium, hoping to touch an alternate reality. I came to meet Athena, the aquarium’s forty-pound, five-foot-long, two-and-a-half-year-old giant Pacific octopus.

These are just the facts. On July 22, 2013, Catherine, Duchess of Cambridge, gave birth to her first child, Prince George. Two weeks later, an enormous “fatberg” was discovered in the sewers under London.

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.

Newly-released oil industry documents push back the start date of the world’s most successful disinformation campaign to the 1960s, if not earlier.

In 1815, 15 years before he made his most famous print, The Great Wave, Hokusai published three volumes of erotic art. In one of them there is a woodcut print known in English as ‘The Dream of the Fisherman’s Wife’ and in Japanese as ‘Tako to ama’, ‘Octopus and Shell Diver’.

The Thing

The Traveling Museum of the Paranormal & Occult, the world’s only mobile museum of haunted artifacts, has launched the first-ever initiative to 3D scan and compile a database of paranormally-active objects.