Hex makes a living in virtual reality. She’s an online sex worker, hosting shows and posting photos and videos from social VR platform VRChat to her Fansly account, a subscription site for erotic content.

Undiagnosed by the mainstream media and much of the academic community, a major intellectual renewal is underway across the left. It is energetic and tech-savvy, building platforms such as Novara Media.

When we talk about artificial intelligence, we rely on metaphor, as we always do when dealing with something new and unfamiliar. Metaphors are, by their nature, imperfect, but we still need to choose them carefully, because bad ones can lead us astray.

The insecure nature of work is a result of decisions by corporations and policymakers. Mr. Hyman is an economic historian.

Undiagnosed by the mainstream media and much of the academic community, a major intellectual renewal is underway across the left. It is energetic and tech-savvy, building platforms such as Novara Media.

In “Fragment on Machines,” Marx made the case that with investment in automated technology, which he called fixed capital, capitalism is able to reduce necessary labor time and increase both surplus labor and value.

A new report suggests that the marriage of AI and robotics could replace so many jobs that the era of mass employment could come to an end If you wanted relief from stories about tyre factories and steel plants closing, you could try relaxing with a new 300-page report from Bank of Ame

A new report suggests that the marriage of AI and robotics could replace so many jobs that the era of mass employment could come to an end If you wanted relief from stories about tyre factories and steel plants closing, you could try relaxing with a new 300-page report from Bank of Ame

In an advert for Recognition Equipment in 1966, a young woman with a charming smile places an arm around her male colleague’s shoulder, and rests her head gently against him as he tries to read some very serious and important paperwork.

President Obama has warned that ATMs and airport check-in kiosks are contributing to high unemployment. Sen. Marco Rubio said that the central challenge of our times is "to ensure that the rise of the machines is not the fall of the worker.

As a feminist, I've always assumed that by fighting to emancipate women I was building a better world – more egalitarian, just and free. But lately I've begun to worry that ideals pioneered by feminists are serving quite different ends.

Introduction: Kristoffer Gansing Moderation: Carolin Gerlitz With Judy Wajcman, Tiziana Terranova

A double-keynote on the dilemmas of post-digital labour and on possibilities and capabilities of workers to cope with and organise out of today’s both highly diffuse as well as algorithmically governed labour situations.

At Haus der Kulturen der Welt Thursday 29 Jan 2015

Conference Stream: Work

Understanding phenomena and facticity, creating an art-object for subjects within constellations of agential-realism.

There are two absolutes we can never attain. One is freedom and the other is authenticity. These have simultaneously been promised as absolutes; logos, hegemonic since the commodification of identity made it less of a thing, more of an attitude. If this is the case, how is it possible that, in the apparently end-times of socialism – where we are reckoned to feel that there is no option but to comply with hyper-resilient networks – the futurity of being a free and authentic subject still applies as an ideal?

If these ‘absolutes’ are unattainable, contingently emerging abstracts, why is the best art that which fluxes desperately in a carry-on struggle to reach both?

Hardcore Software presents Piracy Today, a platform for actions an interventions that challenge our dominant cultural order. The pilot exhibition presents work by four artists and practitioners who use piracy to interrogate patterns of cultural transmission.

http://hardcoresoftware.org/

Wednesday 28 August 2013 | 6-10pm Open discussion starts at 7pm Penthouse 4C, Barbican Centre Foyer

FEATURING WORK BY AND Publishing | Martin Dittus | Geraldine Juarez | Lawrence Lek

OPEN DISCUSSION 7-8.30pm Hosted by Rachel Falconer (Curator) Stuart Bannocks (Designer & Theorist) Ami Clarke (Artist & Curator) Martin Dittus (Hacker) Lawrence Lek (Artist) Daniel Rourke (Artist & Writer)

Help Kickstart ▌▀▐▐GLI.TCH  2112! ▐▐▀▌▌▐▀▀▄▄▀▀AGAI▀NN▀▀▀

I have some work in A Shot to the Arse, an exhibition coming August 14th at Michaelis Galleries, Cape Town. Many thanks to Belinda Blignaut!

By request...the ultra-slow version of Wuthering Heights (created by "Looking At Blue" from the KateBushNewsandInformation forum), now accompanied by Kate's 1978 video for the song, also slowed to a crawl. The song really starts at 00:40, but I included the slowed-down chimes which now sound like scary-ass church bells. Creepy, innit?

From Roger Ebert’s pedantic proclamation that “video games can never be art” to the clichéd fawning over the truckloads of revenue generated by each new release in the Modern Warfare series, gaming consistently inspires overarching conversations about media and culture. At this point, these ‘big conversations’ should surprise no one, as with each passing year gaming becomes less esoteric and permeates more and more demographic groups (e.g. the popularity of social games on Facebook, senior citizens embracing the Wii as an exercise platform, etc.). So while gaming may be everywhere, it is strange that it is often difficult to locate conversations about it that speak to how we actually integrate play and simulation into our everyday experience. What can games tell us about relaxation, work and routine? What do they have to say about movement and the body? How might we subvert gaming conventions through pranks and humour? Ian Bogost’s recent book How To Do Things With Videogames thoughtfully considers questions like these while endeavouring to re-frame the medium through a series of focused, topical texts that draw on familiar and engaging points of reference.

“Is an ephemeral image, a moment in a streaming video, a thing? Or if the image is frozen as a still, is it now a thing? Is a dream, a city, a sensation, a derivative, an ideology, a decay, a kiss? I haven’t the least idea.” Extract from David Miller, Materiality : An Introduction [1]

In A Thing Like You and Me, Hito Steyerl plays out her ongoing obsession with the copy, skirting briefly over her wider, yet more implicit concern: the digital. Echoing the work of Bruno Latour, Steyerl acknowledges the materiality by which images are created, scarred and destroyed in order to get to a much deeper, ontological question about autonomy. Avoiding the kind of subject/object purification Latour warns about, Steyerl asks us to consider images as something we can participate in, even model our autonomy on. Is it possible to become a thing? And where does Hito Steyerl get off calling us ‘things’ in the first place? Continue reading this essay here…

Every day an incomprehensible number of new digital media files are uploaded to hosting sites across the internet. Far too many for any one person to consume. Infinite Glitch is a stream-of-conciousness representation of this overwhelming flood of media, its fractured and degraded sounds and images reflecting how little we as an audience are able to retain from this daily barrage.

Infinite Glitch is an automated system that generates an ever-changing audio/video stream from the constantly increasing mass of media files freely available on the web. Source audio and video files are ripped from a variety of popular media hosting sites, torn apart, and recombined using collage and glitch techniques to create an organic, chaotic flood of sensory input.