Propelled by a huge increase of online purchases during the pandemic, and in the midst of the worst economic upheaveal since the Great Depression, Jeff Bezos’ net worth increases $4.9 billion, making the Amazon founder and CEO the world’s first-ever person to amass a $200 billion fortune.

Welcome to HOLO 2.5, the new digital arm of HOLO magazine! We don’t think it’s odd to be celebrating an in-between issue as HOLO is all about interstices: first between disciplines, now between mediums. Please take a look around; for more details on our new online home read the welcome note, linked below.
The New Normal
Emerging from a 3-year research program initiated by Moscow’s Strelka Institute, editors Benjamin H. Bratton, Nicolay Boyadjiev, Nick Axel, and a host of collaborators consider the impact of planetary-scale computation on urban futures.
“I believe this is definitely by John.”
David Zwirner, gallerist of American Minimalist John McCracken (1934-2011), on the mysterious monolith discovered in remote southern Utah. McCracken was best known for his plinth-like reflective sculptures that he frequently likened to something that an alien visitor might leave behind on earth.
Algorithmic production has the potential to “free overworked and underpaid artists to pursue the aspects of their art that are most enjoyable, creative, or personally fulfilling.” Beyond the expected skepticism, Matthew Braga considers the nuances of automation, and draws on recent project by Robin Sloan and Holly Herndon to illustrate how it might aid and augment beleaguered and spread-too-thin creatives.
“Like all technologies, light reflects larger expressions of power, carving up an architecture of visibility that shapes how lives are led at night, providing shelter for some and harmful exposure for others.”
Lauren Collee, on the politics of public lighting—from the street lanterns of 17th century Paris to the networked lampposts of the smart city
“…as familiarity with coding increases, more people will use that skill to produce music or art. There are people who say ‘I spend all day behind a computer; the last thing I want to do after work is look at a computer again,’ but for me, the computer is not a burden but more like water. I don’t think I’m alone in that regard.”
– Electronic musician Renick Bell, on the burgeoning livecoding and generative art scenes
“For me, personally, there’s no separation between my activities as a citizen and my activities as an artist.”
Keeley Haftner, on her decision to make waste a driving force in her material-focused practice, during “Sustainable Approaches to Making,” a panel organized by Toronto’s InterAccess
Editors Domenico Quaranta and Janez Janša join a host of contributors in schematizing our current regime of 24/7 work, exploitation, and self-valorization.

Ahead of the sunsetting of Adobe Flash on Dec 31, the Internet Archive announces the preservation of Flash content—SWF files—through emulation. First introduced by Macromedia in 1996, the software was vital for dynamizing the early Web. “From roughly 2000 to 2005, Flash was the top of the heap for a generation of artists, animators, and small studios,” writes archivist Jason Scott, warning that a big part of Internet history is now “in true danger of sinking beneath the sea.” To run Flash files without the discontinued player, the non-profit digital library incorporated Ruffle, an in-development emulator, into the site. Thus far, more than 1,000 Flash classics have been ‘resurrected.’

“If the surface internet is like Art Basel, then the darknet would be your artist-run space in a dirty basement in Bushwick.”
– Artist Franco Mattes, on “Time Out of Joint,” an online exhibition he and partner Eva curated on the darknet—“a remote location at the ‘periphery’ of the Internet”—as part of the 2020 Yerevan Biennial. The show features new works by, among others, Joshua Citarella, Clusterduck, David Horvitz, Vladan Joler, and Amalia Ulman and will run through Jan 2021.

In their latest investigation, London-based research agency Forensic Architecture reconstruct the Beirut port explosion that killed more than two hundred people, wounded over 6,500, and destroyed large parts of the city on the evening of Aug 4. Using open-source information including videos, photographs, and documents provided by the independent Egyptian online newspaper Mada Masr, project lead Samaneh Moafi and team provide a meticulous, evidence-based picture of the events and “the multiple layers of state negligence” at play that day.

“GPT-3 is an extraordinary piece of technology, but as intelligent, conscious, smart, aware, perceptive, insightful, sensitive and sensible (etc.) as an old typewriter.”
– Researchers Luciano Floridi and Massimo Chiriatti, demonstrating that OpenAI’s third-generation language prediction model fails the Turing test in their recent paper “GPT‑3: Its Nature, Scope, Limits, and Consequences”—which, as artist, designer, and educator Tobias Revell points out, makes “one of the oldest mistakes in the book; mistaking correlation for causation.”
Extinction Stories
An extension of Extinction Room (2019), a performative 16-channel sound installation realised together with choreographer Sergiu Matiș, ‘audio sculptress’ AGF (aka Antye Greie) compiles 19 collages on extinct and endangered animal species. All proceeds will go to environmental causes.
“It’s equally clear that a massive paradigm shift will be needed to combat the deep-seated belief—which has been entrenched by decades of post-World War II economic policies—that growth is ‘the equivalence of life,’ and ‘not to grow is equivalence of death.’”
– Chloe Stead, on the urgency of post-growth futures and how artists like DISNOVATION.ORG can help model them
Expanding upon DISNOVATION.ORG’s “Post Growth” exhibition at iMAL, Chloe Stead delves into production, energy, and kinship futures of the world after fossil fuels and zombie capitalism.