Exhibitions, Research, Criticism, Commentary
A chronology of 3,585 references across art, science, technology, and culture
“Trump’s ICE Director wants to run mass deportation ‘like Prime, but with human beings.’”
“Data breaches are a perpetual concern with any data collection. Biometrics magnify that risk because your face cannot be reset, unlike a password or credit card number.”
“To regulate AI effectively, we have to update our mental model of what AI is. It’s no longer just a chatbot or a website algorithm. It’s a product, a presence, and increasingly, a companion made possible by a quiet transformation in infrastructure.”
“We call this NIMI—Not In My Industry—which means that I don’t give a shit if I take an Uber, I don’t care if I buy books on Amazon or listen to music on Spotify. However, when something hits my industry, such as AI in comics, I will be very against it.”
“If you’ve never spun up an AWS orchestration diagram how can you possibly critique the state of software today? I don’t understand how academia can critique technocapitalism without having actually done any of that work.”
“Tech companies, with their ‘Sovereignty as a Service’ offerings, are acting as arms dealers, encouraging the illusion of a race for sovereign control while being the true powers behind the scenes.”
“The voice of novel technological communication has been, almost from the beginning, a female voice, which is to say the voice of a helper, a perfect helper, pleasant, unflappable, immune to insults, come-ons and bossiness.”
“The pivot is a direct product of the second Trump era and mirrors the president’s own trajectory with the United States government. Become the figurehead of an institution. Try to control it by the old rules. When that doesn’t work, take it by force, break it down, and rebuild it in your image.”
Craig Gent
Cyberboss
“Google is a monopolist, and it has acted as one to maintain its monopoly.”
“So literally, I was like, what the fuck? Get these down. What are you doing? It’s as if I was the head of Gucci, and there’s all these knockoffs.”
“We can keep suppressing the wages of Uber drivers—keep them below the cost of living—because they can always supplement by renting out their apartment on Airbnb.”
“Terms & Expectations,” a group exhibition curated by Barbara Cueto & Bas Hendrikx, open’s at Toronto’s InterAccess. Focused on “distribution centres as agents within our natural environment,” the show hones in on critical infrastructure that underpins platform capitalism (e.g. the ubiquitous Amazon fulfilment centre). Featured are artists including Hiba Ali Simon Denny, Sophia Oppel, and Coralie Vogelaar, contributing works in mediums ranging from installation to performance.
“Using fear-mongering about package theft and suburban crime, a surveillance company has convinced countless homes to affix a surveillance network node. Now they want us to laugh about it all in our (ideally) Ring-surveilled homes.“
“For me the phrase was the perfect title for the exhibition, encompassing why Amazon is such a ruthless company, and how they make this fact incredibly overt, both to their employees and customer base.”
“Enough people purchased the preservative to attempt suicide that the company’s algorithm began suggesting other products that customers frequently bought along with it to aid in such efforts.”
“We aren’t used to thinking about these systems in terms of the environmental costs. But saying, ‘Hey, Alexa, order me some toilet rolls,’ invokes into being this chain of extraction, which goes all around the planet.”
Work produced during the Toronto-based South Asian Visual Arts Centre’s (SAVAC) ADA-DADA Residency is shared online. Spanning CGI, videogames, and fiction, pieces by CAM Collective, Vishal Kumararswamy, Lingxian Wu, and others are accessible via the RPG-esque gather.town platform. Overarching themes include migration, alienation, and exploitation, with Hiba Ali’s The Real Love Memo V.2 (image) generating anti-Amazon critiques in response to an infamous Jeff Bezos memo.
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