“As the black hole spins, it warps space-time, causing further space warp and Doppler shift of light.”
– Ryan James Smith, game designer and Lead Technical Artist for Sony Santa Monica, on the ‘physically accurate’ simulation of a black hole he created with Unreal Engine

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 our new site, or click the link below to read the inaugural post in HOLOphon, the HOLO.mg blog, for a more detailed introduction to this platform.

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.”
– Hrag Vartanian, on how Claudia Hart’s Bitforms show “The Ruins” (open through October 24) “riffs off the work of influential Modernists to create vivid digital simulations”

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.”
– Investor David Morgan, on how cryptocurrency could (digitally) return the general populace to the age-old practice of using gold and silver to store and exchange value
“But the truth is Facebook has always been a problem. There is no good Facebook that Facebook can return to being.”
– Writer Joanne McNeil, revisiting early Facebook criticism published in Katherine Losse’s The Boy Kings (2012), Alice Marwick’s Status Update (2013), and Rebecca MacKinnon’s Consent of the Networked (2012)

In It Takes More than the Past to Understand and Build the Archive (2020), a video essay commissioned for the 10th issue of Stedelijk Studies on “the Future of Digital Archives and Collections,” glitch artist Rosa Menkman tells the story of her renowned work A Vernacular of File Formats (2010). The video describes the historical, social, and chance contexts that instigated her research into image encoding and data syntax systems, and how our relationship to our own images and data have evolved since.

“A parasitic, coil-powered, perfectly camouflaged, city-wide distributed, Corona-proof netart show on e-scooters—what a concept!”
Aram Bartholl, one of 11 artists invited to ‘install’ work on one of Berlin’s e-scooters for Netzkunst’s upcoming speedshow “OPENCOIL

“Life as we know it,” a group exhibition that “erodes the human/nature binary by studying, collaborating with, and emulating nature’s forms and processes” opens at Toronto’s InterAccess. Curated by Megan MacLaurin, the show assembles work by Ananda Gabo & Anastasiya Yatsuk, Keeley Haftner, Robert Hengeveld, and others, that decentres anthropocentrism and foregrounds plant, animal, fungal, and bacterial knoweldge.

As programming partner of Digital Cultures 2020, HOLO expands on this year’s “Imagined Futures” theme by bringing together experts that imagine futures as part of their creative practice. Join us on Oct 18 at 5 pm CEST to hear Anab Jain, Jorge Camacho, Ingrid LaFleur, Liam Young, and Tim Maughan discuss narrative and worldbuilding as forms of cultural critique.
“The inscriptome is where the visual governance of COVID-19 is performed and the bodies of humans are administered under the regimes of #flattenthecurve and #opentheeconomy, and setting the #newnormal.”
Orkan Telhan and Dietmar Offenhuber, parsing the literal, non-metaphorical understanding of pathogens as a medium of inscription and communication
Xiaowei Wang
Blockchain Chicken Farm
Researcher and designer Xiaowei Wang examines rural China as a site of innovation shaping the future of technology, agriculture, and commerce.
“As the black hole spins, it warps space-time, causing further space warp and Doppler shift of light.”
– Ryan James Smith, game designer and Lead Technical Artist for Sony Santa Monica, on the ‘physically accurate’ simulation of a black hole he created with Unreal Engine
“We work across disciplines and sectors because we have to: despite the best efforts of specialists in various disciplines and sectors, the problems of misinformation, radicalization, echo chambers, and abusive language persist.”
– From the mission statement for the new Digital Democracies Institute, led by theorist Wendy Hui Kyong Chun at Simon Fraser University

Humbly captioned “some of my favorites out of these new GPT paintings,” artist Sterling Crispin shares a fresh batch of GPT3 and GPT2-XL neural network derived plotter drawings, as part of a thread chronicling his progress on the series.