1,182 days, 1,855 entries ... Newsticker, link list, time machine: HOLO.mg/stream logs emerging trajectories in art, science, technology, and culture––every day
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“People underrate the idea of storing material in DNA. If you store a video on a hard drive, it will have a lifespan of maybe half a century. If you code it into strands of DNA, it will last a million years and is probably just as easily retrievable.”
OUT NOW :
Suad Garayeva-Maleki & Heike Munder (ed.)
Potential Worlds
A survey of 36 ecocritical works by
Mary Maggic ,
Carolina Caycedo , and
Pinar Yoldas and others, featuring essays by Benjamin Bratton, T. J. Demos, and Jussi Parikka
Part of his incomplete series of quarantine collaborations, Japanese composer and musician Ryuichi Sakamoto premieres low tide , a contemplative piece produced together with American experimental music veterans Laurie Anderson and Arto Lindsay featuring video art by New York collective Zakkubalan, within the 2020 Festival de Cannes livestream.
“Mr. Williams knew that he had not committed the crime in question. What he could not have known … is that his case may be the first known account of an American being wrongfully arrested based on a flawed match from a facial recognition algorithm.“
–
Kashmir Hill , revisiting the (unprecedented) circumstances that lead to the arrest of Robert Julian-Borchak Williams by the Detroit Police Department in 2018
“They were delicious: I couldn’t taste any off notes, which suggests that the fungus had fully metabolised the text.”
– Biologist
Merlin Sheldrake , on eating an “amazing crop of oyster mushrooms” that sprouted from his book
Entangled Life: How Fungi Make Our Worlds, Change Our Minds, & Shape Our Futures (2020)
“The uncritical acceptance of default assumptions inevitably leads to discriminatory design in algorithmic systems, reproducing ideas which normalize social hierarchies and legitimize violence against marginalized groups.”
– An open letter signed by hundreds of scholars, to Springer Publishing, about the forthcoming publication of a paper entitled “A Deep Neural Network Model to Predict Criminality Using Image Processing”
OUT NOW :
Neural 65
Redirecting Networks
Co-edited by Irish researcher and lecturer
Rachel O’Dwyer , the 65th issue of the media art journal explores the networked panopticon. Highlights include interviews with artists
Kyriaki Goni ,
Tiziana Terranova , and
Roel Roscam Abbing , as well as articles on wireless community networks and music streaming services.
“These periodic bursts are something that we’ve never seen before—it’s a new phenomenon in astrophysics.”
– MIT Physicist
Kiyoshi Masui , about the 16-day repeating rhythm of fast radio wave bursts from an unknown source, occurring over 500 days of observations
Exhibiting digital art in sticker form, the Zentrum für Netzkunst -curated group show “stick.t.me” opens at Berlin’s panke.gallery . 19 artists including Nadja Buttendorf , Carla Gannis , Rosa Menkman , Lorna Mills , and Igor Štromajer harness the sticker feature of the Telegram messenger app for creating net art collectibles. Produced during an ‘in-app’ residency, the stickers can be gathered in a dedicated scrapbook available at the gallery; their digital counterparts are available in Telegram.
“The influx of bots and bot mafias has had a complicated impact on the WoW Classic economy. Some items are worth less because bots are working 24/7 to achieve them; others are worth more because bot mafias have hogged goods.”
– Cecilia D’Anastasio, on Blizzard Entertainment suspending over 74,000 World of Warcraft accounts, as bots upend the game’s economy
“We can’t yet confirm or deny our participation in Sony’s reveal.”
– A producer of Russian media and CGI artist
Maxim Zhestkov , in response to
The Verge ’s inquiry about the striking similarities between the artist’s work and the slick graphics used in Sony’s
reveal of the PlayStation 5
“Direct input from the public can also help infuse AI ecosystems with nuanced ideas, values and beliefs toward the equitable distribution of resources and mutually beneficial systems of governance.”
– Transmedia artist
Stephanie Dinkins on Afro-now-ism, and how infusing AI with a multiplicity of perspectives
could offer emancipation from America’s “infinite loop of repression and oppositional thinking”
In announcing this year’s Golden Nica winners, the Prix Ars Electronica jury notes that, for the first time in the prize’s 33-year history, an anonymous citizens movement—that of Hong Kong protesters—has been awarded while all other winners—another first—are women. Among them are Miwa Matreyek (Computer Animation), VALIE EXPORT (Visionary Pioneer), and Lauren Lee McCarthy (Interactive Art +), whose 2019 piece SOMEONE
“There are no supervillain tech bros in her account, no evil cabals of trolls launching denial-of-service strikes from the Dark Web, no innocent bots corrupted by the inherent evils of Twitter. There’s just prejudice and its pernicious adaptability.”
–
Stephen Kearse , on the sharpness of Ruha Benjamin’s
Race After Technology: Abolitionist Tools for the New Jim Code (2019)
Rhizome announces that its free web archiving service Webrecorder.io, launched in 2015 as an R&D project, will fold into the organization’s digital preservation program as Conifer while Webrecorder’s software development continues independently.
Using 3D modelling, data mining, photogrammetry, and VR, London-based investigative group Forensic Architecture reveals that 2011 police shooting victim Mark Duggan was, contradictory to official reports, not holding a gun or posing a threat when he was shot. His death triggered the biggest riots in modern English history.
“If the court finds that Internet Archive ‘willfully’ infringed copyright, the library could be on the hook for up to $150,000 in damages—per each of the 1.4 million titles.”
– Journalist
Jeff Benson , on five major book publishers suing the non-profit for removing lending restrictions during the COVID-19 crisis
“I’ve heard horrifying anecdotes of audio speakers left unplugged for the duration of an exhibition, dimmed projector bulbs, and VR headsets in permanent Kiosk mode.”
“My work as a cultural connector and public programmer was being used to distract funders, donors, and constituents from seeing where the real issues lie in the museum: in its overwhelming white permanent collection, in its ongoing harmful colonial narratives, and worst, its tokenistic approach to community partnerships.”
– Rea McNamara, in an open letter to Toronto’s Gardiner Museum, where she worked for three years
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