A database of myriad cyberfeminism(s)—post-binary, feminist servers, cyborg witches—from 1990–2020, Cyberfeminism Index launches. Facilitated and gathered by Mindy Seu and commissioned by Rhizome, the site offers a deep archive of hundreds of critical gender studies texts, manifestos, and inititiatives. To aid in navigating its voluminous collection, its interface includes curated ‘collections’ by key voices including original cyberfeminists VNS Matrix, bio-hacker Mary Maggic, and the xenofeminist collective Laboria Cuboniks.
“It’s unclear if she is trying to resuscitate these tired, old forms that have been reproduced infinitum, or if she is proving how dead they truly are.”
U.S. Representative Alexandria Ocasio-Cortez draws a record-breaking 439,000 concurrent viewers when playing the video game Among Us on the streaming platform Twitch. An effort to bring out the (youth) vote, the stream lasted over three hours, garnered more than five million views in total, and at the time was the lead traffic driver to IWillVote.com. Ocasio-Cortez was joined by fellow Democratic congresswomen Ilhan Omar and various Twitch personalities, who had talked her into setting up an account just a day earlier.
“In Indonesia, 60% of people under 30 don’t have a bank account and use their phones to pay for goods and services—that’s the direction we’re going. I think companies that innovate by melding precious metals and cryptocurrencies are going to lead the way.”
“But the truth is Facebook has always been a problem. There is no good Facebook that Facebook can return to being.”
Dossiers
- 4
Economies
Reader
Matthew Braga explores prosperity and precarity for the artists and cultural workers whose true value will never be measured in dollars.
The Digital Economies Reader builds on the Digital Economies Lab, a year-long exploration of the wonders and anguish of making art and culture in the twenty-first century organized by Ottawa’s Artengine.
Lead Writer
Matthew Braga
Residents
Aaron Casey
Izzie Colpitts
Julie Gendron
Lee Jones
Emmanuel Madan
Tim Maughan
Jerrold McGrath
Kofi Oduro
Kalli Retzepi
Macy Siu
SWINTAK
Type Treatments
Tim Rodenbröker
Artengine Team
Ryan Stec
Remco Volmer
Kseniya Tosy
Steering Committee
Jeremy Bailey
Jen Hunter
The Digital Economies Lab (DEL) is a year-long exploration of the wonders and anguish of making art and culture in the twenty-first century. Drawing on in-depth research, dialogue with experts, engagement with the public and media arts professionals, DEL’s residents are producing prototypes and proposals for increasing sustainability and resilience in the creative sector.
Chloe Stead delves into production, energy, and kinship futures of the world after fossil fuels and zombie capitalism.
Life … After the Crash accompanies “POST GROWTH,” the DISNOVATION.ORG curated exhibition that “challenges dominant narratives of growth and progress,” showing at Brussel’s iMAL through January 2021.
Isn’t Even My Final Form
Due in summer 2021, the next print edition of HOLO will be a different beast. Follow the transformation via production notes, research snippets, and B-roll material.
POSSIBLY
GO WRONG?
Tim Maughan pens dark fiction challenging the unquestioning optimism and lazy headline writing of mainstream science and technology journalism.
WHAT COULD POSSIBLY GO WRONG? is an extension of HOLO’s curatorial contribution to Digital Cultures 2020, an annual festival in Warsaw organized by the Adam Mickiewicz Institute.
Second Nature
What are Dossiers?
A dynamic editorial format that narrates, contextualizes, and disseminates cultural initiatives over time.
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Let’s collaborate!
Emerging trajectories in art, science, and technology (since 2014)
HOLO is an editorial and curatorial collective based in Berlin, London, and Toronto. Its outputs include an eponymous magazine, symposium and workshop programming, and festival and exhibition curation.
HOLO emerged through the collaboration of Alexander Scholz, Sherry Kennedy, Greg J. Smith, and Filip Visnjic, which began in 2010. Bound by a mutual interest in interactive installation, audiovisual performance, and software art that happened outside contemporary art and commercial design silos, they drew on their experience in three publications: the German-based underground digital culture magazine SCEEN (200x-200x), the Canadian digital arts journal Vague Terrain (2005-11), and Creative Applications Network (aka CAN 2010-). The team consolidated around a magazine concept—a rich, timeless, and accessible print counterpoint to CAN’s technical, voluminous, and insider-focused framing of creative coding and interactive installation.
Funded through a successful Kickstarter campaign, HOLO’s inaugural issue was published in 2014 and HOLO 2 followed in 2016. The magazine cultivated an international audience, with readers in more than 60 countries and stockists in three continents (including MoMA PS1, the V&A, and ZKM). Since 2013 HOLO has curated festivals and contributed programming for cultural producers including MUTEK (CA), NODE (DE), ACT (KR), and Resonate (SR). With the launch of a new digital platform in fall 2020 and a third edition of its magazine due for 2021, HOLO has redoubled its efforts to cultivate and champion the fertile interstices between art, science, and technology.