1,574 days, 2,408 entries ...

Newsticker, link list, time machine: HOLO.mg/stream logs emerging trajectories in art, science, technology, and culture––every day
● 08/04/2024
“I can’t help you with your film because people just want a gay film or lesbian film, and this mixture of sexuality in your film is just not going anywhere.”
– Taiwanese-American filmmaker and pioneering internet artist Shu Lea Cheang, citing a frustrated distribution agent’s rejection of her gender-fluid sci-fi cinema. “My films have always been diversely queer, in terms of race, gender and sexuality,” Cheang explains. “I was known for gender-hacking and genre-bending.”
Spike Art Magazine
● 24/03/2024
“My version of feminist, queer, trans-affirmative politics is not about policing. I don’t think we should become the police. I’m afraid of the police.”
– Gender Trouble (1990) author Judith Butler, explaining that policing language is not the answer to anti-LGBTQ+ rhetoric. “I think a lot of people feel that the world is out of control, and one place where they can exercise some control is language,” she says of simmering global tensions around gender and identity.
New York Times
● 15/01/2024
“Rather than a tool for dominance, akin to practices like data-driven racial profiling by law enforcement, it serves as a repository for quotations from diverse voices, generating a collective feminist intelligence rooted in diversity.”
– Media scholar Ariana Dongus, describing #SOPHYGRAY, a feminist chatbot created by German artist Nadja Verena Marcin. Noting how the bot “gradually reveals and challenges female stereotypes,” Dongus situates it in a broader history of erased labour and gendered computing.
Hyperallergic
● 26/09/2023
“Perhaps the limits of our energy are not dismal markers of failure but important demarcations for where we want to focus, prioritize, and sustain our collective power.”
– Curator and InterAccess program manager Belinda Kwan, ruminating on the limits of capacity in the arts (and life). Sharing her work developing an educational program for Black, Indigenous, and disability justice communities, and her experience with chronic pain and depression, Kwan reflects on how the best intentions around ‘opening up access’ can be stymied by antiquated policies and protocols.
BlackFlash
● 08/09/2023
“The institution is drawn toward those who can leverage their racial identity into a curatorial practice, which the institution can then leverage (or co-opt) into its brand.”
– Writer and designer Simon Wu, on the catch-22 of the art world finally embracing racialized curators. Drawing on his time at MoMA, Wu observes that the desire to confront labour and ethics issues within institutions often gets trumped by the stability (“healthcare, a living wage, parental leave”) that many curators of colour have only just got access to for the first time.
Momus
● 06/09/2023

American artist Aay Liparato‘s “Small Acts of Violence,” an exhibition surveying intimate partner violence (IPV) fallout in VR, opens at ARGOS Brussels. Co-producers C0N10UR and V2_ Lab for the Unstable Media join in presenting the immersive piece, which centres testimonials from women, nonbinary, and non-cis male IPV perpetrators from the UK and Belgium. Emotionally challenging, viewers must choose which situations to “gaze on or turn away from” and “assert their boundaries.”

ARGOS
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● 23/06/2023
OUT NOW:
Logic(s) 19
Supa Dupa Skies
Contributors including Meredith Whittaker, Şerife Wong, and Edward Ongweso Jr. relaunch Logic with a fresh mandate to transcend “the bleak uniformity of tech journalism” with Queer, Black, and Asian perspectives.
Logic(s)
● 25/05/2023
“The goals his work sets out to achieve assume profits for emerging capitalists are an unalloyed good, while anything that would interrupt these is an obstacle to be eliminated.”
– AI researcher Meredith Whittaker, on the ideology and motivations of computer pioneer Charles Babbage. A critical intervention into his legacy, Whittaker draws connections between Babbage’s machines, his perspective on ‘free’ labour, and the brutal efficiency of colonial plantations.
Logic(s)
● 14/03/2023
OUT NOW:
Meredith Broussard
More than a Glitch
Interpreting glitches as a “signal that we need to redesign our systems,” data journalist Broussard highlights algorithmic biases against race, gender, and ability across the tech sector—and suggests a path forward to a more equitable future.
MIT Press
● 08/03/2023
“Digitization reproduces and deepens existing social inequalities in regards to access to digital services, presence and visibility on platforms as well as discrimination through algorithmic decision making.”
– Equity advocates SUPERRR Lab, contextualizing why feminist digital policy is necessary. Published in English just in time for International Women’s Day, their resource defines feminist tech policy, and provides case studies and references for further research.
Feminist Digital Policy
● 02/03/2023
“Institutions make these standard statements, but oftentimes they address Indigenous communities as if they are from the past—when they are still present here today.”
– Curator Lauren R. O’Connel, on land acknowledgements. In conversation about the Scottsdale Museum of Contemporary Art (SMoCA) exhibition “Language in Times of Miscommunication,” she contrasts the signage-based “positive reinforcement” of Indigenous artist Anna Tsouhlarakis to the tone and subtext of (boilerplate) land acknowledgements.
Arizona PBS
● 28/02/2023
“The subdued blackness of the Apple II computer terminal—which has slowly given way to white-dominated monitors—is juxtaposed with the seeping, gooey asphalt, which seems to suggest that Blackness will not so easily be contained.”
– Writer Veronica Esposito, on American Artist’s Mother of All Demos III (2022), featured in the forthcoming group exhibition “Refigured” at the Whitney. The piece invokes Douglas Engelbard’s epochal 1968 presentation and has “the feel of an archetypical, Promethean moment when things changed forever.”
The Guardian
● 17/01/2023
OUT NOW:
Mindy Seu
Cyberfeminism Index
From the writings of Donna Haraway, to VNS Matrix’s games and poetry, to the biohacks of Mary Maggic—the 700 entry-strong hard copy of Seu’s eponymous online archive compiles an anti-canonical guide to cyberfeminism’s long-ignored origins and expansive legacy.
Inventory Press
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