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Fig. 3. Cyberspecies Proximity credit Anna Dumitriu and Fig. 4. Alex: May. and Alex M

Figure 3 Cyberspecies Proximity credit Anna Dumitriu and Fig. 4. Alex: May. and Alex M

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tion, cybersecurity, data or digital government. However, it was with the launch of the JRC’s Science and Art Resonances exhibition cycle datami on the topic of “Big data, Digital Transformation and Artificial Intelligence”, that a wider discussion on AI and humanity started. It inspired the production of this book which presents a wide range collection of thoughts on the topic from different angles and disciplines. The Euro- pean Commission is shaping its digital agenda, with policy initiatives around digital services, Artificial Intelligence and Data. However, as the pace of the technological evolutions is so fast, research results are more important than ever to ensure risks are managed and opportunities are seized. Hence, what started in exploratory and experi- mental mode has now found its way to support current and upcoming policies. This is a great example of the role of the JRC as anticipator and integrator of upcoming trends that will become EU policies - and taking into account reflections from the wider public and society are essential for scientists and policy makers alike to make sense of the information and research results. We are confident that the readere will eniny readineo thic honk and that i+ will he
tion, cybersecurity, data or digital government. However, it was with the launch of the JRC’s Science and Art Resonances exhibition cycle datami on the topic of “Big data, Digital Transformation and Artificial Intelligence”, that a wider discussion on AI and humanity started. It inspired the production of this book which presents a wide range collection of thoughts on the topic from different angles and disciplines. The Euro- pean Commission is shaping its digital agenda, with policy initiatives around digital services, Artificial Intelligence and Data. However, as the pace of the technological evolutions is so fast, research results are more important than ever to ensure risks are managed and opportunities are seized. Hence, what started in exploratory and experi- mental mode has now found its way to support current and upcoming policies. This is a great example of the role of the JRC as anticipator and integrator of upcoming trends that will become EU policies - and taking into account reflections from the wider public and society are essential for scientists and policy makers alike to make sense of the information and research results. We are confident that the readere will eniny readineo thic honk and that i+ will he
AI to rethink what it means to be human in an Al-powered world, and reset the course of our societies so that they are no longer riddled by inequality, discrimination and injustice, we need a large collective effort. This collective effort should be informed by knowledge from different disciplines and critical socio-analysis to identify the multi plicity of connections and explore possible futures. We need the joint reflection of artists, historians, sociologists, scientists and computer scientists to rediscover what Ties us Humans together (hence the title) over what divides us. We believe the contribu tions included in this book are an important first step in this collective endeavour and we are delighted to have contributed in some small way to its coming together.
AI to rethink what it means to be human in an Al-powered world, and reset the course of our societies so that they are no longer riddled by inequality, discrimination and injustice, we need a large collective effort. This collective effort should be informed by knowledge from different disciplines and critical socio-analysis to identify the multi plicity of connections and explore possible futures. We need the joint reflection of artists, historians, sociologists, scientists and computer scientists to rediscover what Ties us Humans together (hence the title) over what divides us. We believe the contribu tions included in this book are an important first step in this collective endeavour and we are delighted to have contributed in some small way to its coming together.
1999), the Next5Minutes3 workbook (N5M organization 1999) and ran and edited the online newsletter CREAM (Collaborative Research into Electronic Art Memes) (2001-2002). Texts and interviews by Bosma have been part of anthologies like Netz- kunst (Inst. fiir Moderne Kunst Niirnberg 1998), Cyberfeminizam (Centar za Zenske Studije Zagreb 1999), ARt & D, Research and Development in Art (V2_Publishing 2005), Network Art (Routledge 2006), Collect the World, the Artist as Archivist in the Internet Age (Link Art Center 2011), Aram Bartholl, the Speed Book (Gestalten 2012), Faceless: Reinventing Privacy Through Subversive Media Strategies (2018), Rhizome's Net Art Anthology (2019), and more. In her essay collection Nettitudes - Let's Talk Net Art (2011) Bosma presents a deep analysis of the discourse around art and the Internet, as well as an eyewitness account of the development of the net.art scene. She regularly acts as advisor and jury member in the area of art, science and technology, as an advisor for the Dutch Stimuleringsfonds voor Creatieve Industrie, as well as a jury member for the Prix Net Art (2015), the Swiss Net Based Award (2018), and the GOGBOT festival Young- blood Award. Next to her work as independent critic Josephine Bosma is part of the Dutch GOGBOT festival team, where she curates the symposium.
1999), the Next5Minutes3 workbook (N5M organization 1999) and ran and edited the online newsletter CREAM (Collaborative Research into Electronic Art Memes) (2001-2002). Texts and interviews by Bosma have been part of anthologies like Netz- kunst (Inst. fiir Moderne Kunst Niirnberg 1998), Cyberfeminizam (Centar za Zenske Studije Zagreb 1999), ARt & D, Research and Development in Art (V2_Publishing 2005), Network Art (Routledge 2006), Collect the World, the Artist as Archivist in the Internet Age (Link Art Center 2011), Aram Bartholl, the Speed Book (Gestalten 2012), Faceless: Reinventing Privacy Through Subversive Media Strategies (2018), Rhizome's Net Art Anthology (2019), and more. In her essay collection Nettitudes - Let's Talk Net Art (2011) Bosma presents a deep analysis of the discourse around art and the Internet, as well as an eyewitness account of the development of the net.art scene. She regularly acts as advisor and jury member in the area of art, science and technology, as an advisor for the Dutch Stimuleringsfonds voor Creatieve Industrie, as well as a jury member for the Prix Net Art (2015), the Swiss Net Based Award (2018), and the GOGBOT festival Young- blood Award. Next to her work as independent critic Josephine Bosma is part of the Dutch GOGBOT festival team, where she curates the symposium.
a a a a od If the humanities alter their perspective to incorporate environmental media, and think of technology in this very light, it therefore may become possible to bridge the gap between natural and artificial intelligence. Exposing the luminous intelligence of a plant would result in enlightening the workings of technical media, and this will introduce a different energy into our field of study. It is this precise environmental force—the ambient energy of “environ-mentality’—that I ultimately want to bring to the humanities and pursue in the field of visual studies'. And that is because the medium of light passing through air in so many forms is an energy that not only creates a vital aesthetic ambiance in the visual arts and media but transforms their very ecology. 1 This is further articulated in Giuliana Bruno, Asmospberes of Projection: Environmentality in Art and Screen Media (Chicago: University of Chicago Press, 2022).
a a a a od If the humanities alter their perspective to incorporate environmental media, and think of technology in this very light, it therefore may become possible to bridge the gap between natural and artificial intelligence. Exposing the luminous intelligence of a plant would result in enlightening the workings of technical media, and this will introduce a different energy into our field of study. It is this precise environmental force—the ambient energy of “environ-mentality’—that I ultimately want to bring to the humanities and pursue in the field of visual studies'. And that is because the medium of light passing through air in so many forms is an energy that not only creates a vital aesthetic ambiance in the visual arts and media but transforms their very ecology. 1 This is further articulated in Giuliana Bruno, Asmospberes of Projection: Environmentality in Art and Screen Media (Chicago: University of Chicago Press, 2022).
6 On the concept of “Third Life” among my texts see: “From life to life. The multiplicity of the living”, in R. Ascott, G. Bast, W. Fiel, M. Jahrmann, R. Schnell (eds.), New Realities: Being Syncretic, Wien, Springer- Verlag, 2009; “Declinations of the living: Toward the Third Life”, in Dmitry Bulatov (ed.), Evolution Haute Couture. Art and Science in the Post-Biological Age, Kaliningrad, BB NCCA, 2013; “Arte come filosofia della contemporaneita. Poetiche della complessita, Terza Vita, localita e universalita”, in Pier Luigi Capucci, Simonetta Simoni (eds.), Arve ¢ complessita, Ravenna, Noema Media, 2018; “L’art au-dela de ’umanisme”, in Hervé Fischer (ed.), “Art versus Société: l’art doit changer le monde”, M@GM@, vol.18, n. 3 2020, 8 April 2021, online, http://www.analisiqualitativa.com/magma/1803/index.fr.htm (last access: 01/08/21). ULE DIOGO SI dd LIE dali’ UIE OCCU LITE ULE Ae Tih UIE SYTIDOUE UIE oStOll . This process is consistent with the progressive externalisation outside the body « human functions and activities. In the beginning, starting from our ancestors, repla ing or enhancing body parts and abilities with tools and devices. Then, recordir knowledge and memory outside the body with picture and writing. Then, externali ing activities and labour with machines and more or less automatic devices. Ther outsourcing narrow reasoning and autonomous action with Artificial Intelligenc Robotics, Artificial Life and algorithms, as well as organic life with Synthetic Biolog Genetic Engineering and Biotechnology. If this trend goes on in the future, more an more human functions and activities will be externalised, and the creations of tk human culture will become increasingly independent, evolving, as noted above, int Third Life. Transdisciplinarity, complexity, awareness and a vision of the future are tl basis for imagining, participating and designing in such an evolution.
6 On the concept of “Third Life” among my texts see: “From life to life. The multiplicity of the living”, in R. Ascott, G. Bast, W. Fiel, M. Jahrmann, R. Schnell (eds.), New Realities: Being Syncretic, Wien, Springer- Verlag, 2009; “Declinations of the living: Toward the Third Life”, in Dmitry Bulatov (ed.), Evolution Haute Couture. Art and Science in the Post-Biological Age, Kaliningrad, BB NCCA, 2013; “Arte come filosofia della contemporaneita. Poetiche della complessita, Terza Vita, localita e universalita”, in Pier Luigi Capucci, Simonetta Simoni (eds.), Arve ¢ complessita, Ravenna, Noema Media, 2018; “L’art au-dela de ’umanisme”, in Hervé Fischer (ed.), “Art versus Société: l’art doit changer le monde”, M@GM@, vol.18, n. 3 2020, 8 April 2021, online, http://www.analisiqualitativa.com/magma/1803/index.fr.htm (last access: 01/08/21). ULE DIOGO SI dd LIE dali’ UIE OCCU LITE ULE Ae Tih UIE SYTIDOUE UIE oStOll . This process is consistent with the progressive externalisation outside the body « human functions and activities. In the beginning, starting from our ancestors, repla ing or enhancing body parts and abilities with tools and devices. Then, recordir knowledge and memory outside the body with picture and writing. Then, externali ing activities and labour with machines and more or less automatic devices. Ther outsourcing narrow reasoning and autonomous action with Artificial Intelligenc Robotics, Artificial Life and algorithms, as well as organic life with Synthetic Biolog Genetic Engineering and Biotechnology. If this trend goes on in the future, more an more human functions and activities will be externalised, and the creations of tk human culture will become increasingly independent, evolving, as noted above, int Third Life. Transdisciplinarity, complexity, awareness and a vision of the future are tl basis for imagining, participating and designing in such an evolution.
AER SSE SNR SER nV RRALELIIS RE Tee Sn T nO Ee LSI eree recone ee Nene MBER. eatitmnnnwe vnene BARAUMIEerd UR rieoews REVS wanIMoreinivenweran shWestarmsctavs . Siiareras ERARBA SAE ISSN agile IEC Soire oer There is, therefore, nothing singular about the singularity. It merely returns us to ongoit hallenges with otherness, difference, and power, which are the topics that the contempora Tumanities excel at. This is also why as a story about race, AI needs new perspectives, especial ince these imminent preemptive rights and laws are often modeled on older laws and amen nents concerning “personhood.” In America these just happen to be rooted in chattel slavery ar he rocky path to enfranchisement and fully human status for Blacks in the wake of the Civil W. hat’s why it’s necessary to engage AI and the quasi-apocalyptic “singularity” from a perspectt ooted in race, sex and empire since technology has not generated that kind of critique, nor ha ntiracist critiques of technology which seem unable to go beyond merely declaring and exhat ively mapping bias and surveillance. xX7°.1 «1 1° 7 1 « . * “440671 1.%6wrmnniimi@n°*:
AER SSE SNR SER nV RRALELIIS RE Tee Sn T nO Ee LSI eree recone ee Nene MBER. eatitmnnnwe vnene BARAUMIEerd UR rieoews REVS wanIMoreinivenweran shWestarmsctavs . Siiareras ERARBA SAE ISSN agile IEC Soire oer There is, therefore, nothing singular about the singularity. It merely returns us to ongoit hallenges with otherness, difference, and power, which are the topics that the contempora Tumanities excel at. This is also why as a story about race, AI needs new perspectives, especial ince these imminent preemptive rights and laws are often modeled on older laws and amen nents concerning “personhood.” In America these just happen to be rooted in chattel slavery ar he rocky path to enfranchisement and fully human status for Blacks in the wake of the Civil W. hat’s why it’s necessary to engage AI and the quasi-apocalyptic “singularity” from a perspectt ooted in race, sex and empire since technology has not generated that kind of critique, nor ha ntiracist critiques of technology which seem unable to go beyond merely declaring and exhat ively mapping bias and surveillance. xX7°.1 «1 1° 7 1 « . * “440671 1.%6wrmnniimi@n°*:
Cultural Association. www.danielacotimbo.com. Biography
Cultural Association. www.danielacotimbo.com. Biography
awe ewe we eevee It is time to face it: the digital transformation is no more - but no humans than it is in meaning. Humans are a still useful accessory bec ess - interested i1 ause as McLuhat wittily suggested: “Man becomes, as it were, the sex organs of the machine world, as th bee of the plant world, enabling it to fecundate and to evolve ever new what is happening to bees and it serves as a warning. Technology need forms.” We s biology to KNOV keey going and it needs ideas, invention, and development, but it is not that concerned with values. Humanism, however, is basically a value system. Can it still be proposed as « bulwark against AI’s rationality gone wild? Maybe. It is still performing reasonably wel as a braking device, inspiring AI programmers to sass out automated biases and preju dices. Just as westerners need to keep entertaining the Christian illusion of being ‘self directed’ they need to keep humanist values on hold, at least until we are well into th third ground, that of the ‘quantum ecology’ that has the comprehensive power to mak everything aware of everything at once.
awe ewe we eevee It is time to face it: the digital transformation is no more - but no humans than it is in meaning. Humans are a still useful accessory bec ess - interested i1 ause as McLuhat wittily suggested: “Man becomes, as it were, the sex organs of the machine world, as th bee of the plant world, enabling it to fecundate and to evolve ever new what is happening to bees and it serves as a warning. Technology need forms.” We s biology to KNOV keey going and it needs ideas, invention, and development, but it is not that concerned with values. Humanism, however, is basically a value system. Can it still be proposed as « bulwark against AI’s rationality gone wild? Maybe. It is still performing reasonably wel as a braking device, inspiring AI programmers to sass out automated biases and preju dices. Just as westerners need to keep entertaining the Christian illusion of being ‘self directed’ they need to keep humanist values on hold, at least until we are well into th third ground, that of the ‘quantum ecology’ that has the comprehensive power to mak everything aware of everything at once.
Fig. 1. Cyberspecies Proximity credit Anna Dumitriu and Alex May.
Fig. 1. Cyberspecies Proximity credit Anna Dumitriu and Alex May.
Fig. 2. Cyberspecies Proximity credit Anna Dumitriu and Alex May.
Fig. 2. Cyberspecies Proximity credit Anna Dumitriu and Alex May.
ad Fig. 4. Cyberspecies Proximity credit Anna Dumitrin and Alex May.
ad Fig. 4. Cyberspecies Proximity credit Anna Dumitrin and Alex May.
Reveley. (Source: Wikimedia Commons). Figure 2. Caress of the Gaze by Behnaz Farahi. Figure 1. Bentham’s Panopticon (1791), plan, section, and elevation drawn by Wiley Reveley (Source Wikimedia Commons).
Reveley. (Source: Wikimedia Commons). Figure 2. Caress of the Gaze by Behnaz Farahi. Figure 1. Bentham’s Panopticon (1791), plan, section, and elevation drawn by Wiley Reveley (Source Wikimedia Commons).
female body. A facial tracking algorithm in this piece detects age, gender and gaze’ of the onlooker. While we know that gender is performative and doesn’t depend on pure representation, the movement of a garment based on the viewer’s gaze could unfold a new set of social meanings. If you are the wearer, you know which part of your body is being looked at, and if you are an onlooker, you know that your action has been noticed. This project shows how different strategies could be used to undermine the patriarchal system by developing forms of resistance using surveillance technologies. In other words, surveillance itself can be undermined by surveillance technologies. In her art project Lauren, Lauren Lee McCarthy addresses the question of surveil- 1 Ek . . Ce a ao a rT 71 . Cc. og ©. . ae i: ae 171
female body. A facial tracking algorithm in this piece detects age, gender and gaze’ of the onlooker. While we know that gender is performative and doesn’t depend on pure representation, the movement of a garment based on the viewer’s gaze could unfold a new set of social meanings. If you are the wearer, you know which part of your body is being looked at, and if you are an onlooker, you know that your action has been noticed. This project shows how different strategies could be used to undermine the patriarchal system by developing forms of resistance using surveillance technologies. In other words, surveillance itself can be undermined by surveillance technologies. In her art project Lauren, Lauren Lee McCarthy addresses the question of surveil- 1 Ek . . Ce a ao a rT 71 . Cc. og ©. . ae i: ae 171
es eens © ee To envision a Feminist AI is to question the ways in which technology can reproduce systemic oppression and then try to rebuild it with feminist principles, like consent, empowerment, knowledge building, sustainability, emancipation and free flow of information. Overall, a Feminist AI, expresses resistance to the colonialist and capital- ist imposition of technology, going against the mindless exploitation of resources and people, while at the same time it provides minoritarian groups with the agency to learn ind create their own technologies.
es eens © ee To envision a Feminist AI is to question the ways in which technology can reproduce systemic oppression and then try to rebuild it with feminist principles, like consent, empowerment, knowledge building, sustainability, emancipation and free flow of information. Overall, a Feminist AI, expresses resistance to the colonialist and capital- ist imposition of technology, going against the mindless exploitation of resources and people, while at the same time it provides minoritarian groups with the agency to learn ind create their own technologies.
“Copyright Lynn Hershman Leeson/Hotwire Productions LLC all rights reserved.
“Copyright Lynn Hershman Leeson/Hotwire Productions LLC all rights reserved.
Figure 1. Cristina Fiordimela, des-A/re, 2022. —— ee ee eee ee ee ee ee ee Yet another genre of programmes, such as Money for Nothing, Find it, Fix it, Flogitand Saved and Remade, shows designers spending vast amounts of money and manual labour on ‘upcy- cling’ such objects, to be sold (if we are to believe the programme-makers) for even vaster amounts of money for their transient value as fashion items. It is difficult to see how most viewers, lacking the time, the skills or the space, could possibly emulate this bizarre form of recommodification, and one is left to conclude that the most likely outcome of all this will be an increase in the sales of various tools and DIY products and, quite possibly, an upsurge in accidents in the home.
Figure 1. Cristina Fiordimela, des-A/re, 2022. —— ee ee eee ee ee ee ee ee Yet another genre of programmes, such as Money for Nothing, Find it, Fix it, Flogitand Saved and Remade, shows designers spending vast amounts of money and manual labour on ‘upcy- cling’ such objects, to be sold (if we are to believe the programme-makers) for even vaster amounts of money for their transient value as fashion items. It is difficult to see how most viewers, lacking the time, the skills or the space, could possibly emulate this bizarre form of recommodification, and one is left to conclude that the most likely outcome of all this will be an increase in the sales of various tools and DIY products and, quite possibly, an upsurge in accidents in the home.
Joasia Krysa is a curator, Professor of Exhibition Research and Head of Art and Design a Liverpool John Moores University, with an adjunct position at Liverpool Biennial. Her firs curatorial software experiment Kwrafor was launched at Tate Modern, London, in 2005 anc published in Curating Immateriality (2006). She has curated exhibitions and commissioned work a the intersection of art and technology, amongst others, as Artistic Director of Kunsthal Aarhus Denmark, part of curatorial team for Documenta 13, co-curator of Liverpool Biennial 2016 Curatorial Advisor for Sapporo International Art Triennale (SIAF) 2020, Japan, and Interna tional Advisor for the inaugural edition of Helsinki Biennial in 2021.
Joasia Krysa is a curator, Professor of Exhibition Research and Head of Art and Design a Liverpool John Moores University, with an adjunct position at Liverpool Biennial. Her firs curatorial software experiment Kwrafor was launched at Tate Modern, London, in 2005 anc published in Curating Immateriality (2006). She has curated exhibitions and commissioned work a the intersection of art and technology, amongst others, as Artistic Director of Kunsthal Aarhus Denmark, part of curatorial team for Documenta 13, co-curator of Liverpool Biennial 2016 Curatorial Advisor for Sapporo International Art Triennale (SIAF) 2020, Japan, and Interna tional Advisor for the inaugural edition of Helsinki Biennial in 2021.
ASSEMBLAGE OF CONCEPTS AND ALLEGORIES
ASSEMBLAGE OF CONCEPTS AND ALLEGORIES
You can download the full publication here: https://extractivism.online/New_Extractivism_A4_Manual.pdf
You can download the full publication here: https://extractivism.online/New_Extractivism_A4_Manual.pdf
A new form of extractivism defines life in the 21% Century. It is one that reaches into the furthest corners of the biosphere and the deepest layers of human cognitive and affective being: the stack that underpins contemporary technological systems goes well beyond the multi-layered “technical stack’ of data modeling, hardware, servers, and networks. Today’s full stack reaches into capital, labor, and nature, while demanding an enormous amount from each. This animation and accompanying diagram gather together different concepts and images of the new extractivism, proposing a semi coher- ent picture of the full stack. The concepts that it presents are mostly represented in the form of visual allegories. Dictionaries define allegory as a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one. All of these allegories and concepts gathered here add up to a blueprint—for a machine-like superstructure; a super allegory that encompasses the whole world. What we have here is an almost fractal allegorical structure—an allegory within an allegory within an allegory...
A new form of extractivism defines life in the 21% Century. It is one that reaches into the furthest corners of the biosphere and the deepest layers of human cognitive and affective being: the stack that underpins contemporary technological systems goes well beyond the multi-layered “technical stack’ of data modeling, hardware, servers, and networks. Today’s full stack reaches into capital, labor, and nature, while demanding an enormous amount from each. This animation and accompanying diagram gather together different concepts and images of the new extractivism, proposing a semi coher- ent picture of the full stack. The concepts that it presents are mostly represented in the form of visual allegories. Dictionaries define allegory as a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one. All of these allegories and concepts gathered here add up to a blueprint—for a machine-like superstructure; a super allegory that encompasses the whole world. What we have here is an almost fractal allegorical structure—an allegory within an allegory within an allegory...
rial’ of different nature where experience is determined). It should generate a changed attitude towards nature and the other animal species, that would no longer be experienced in the separa- tion of the other. The second lives without any nostalgia the progressive detachment that the new technique produces as regards the traditional idea of man and reckons the strengthening of human faculties as foreboding new and unprecedented possibilities to be warmly welcomed. The sunset of man would thus be a hypothesis to examine coldly, with disenchantment, in sight of a wider and more inclusive AI. Now, apart from the fact that today the ways that may bring to the establishment of the first trend seem chimeric, when everything moves towards the second one, in a sort of Totale Mobilmachung, what is common between the two standpoints is the typically humanistic ideal of an emancipation from destiny as something that limits and is not chosen. The first standpoint would mean to get rid of the idea of destiny at the root: there is no human nature, precisely determined from its origin, and the various changes that may produce durable, structural effects are completely contingent. The second one ‘weakens’, empties destiny turning it into an obstacle, a limit to overcome constantly thanks to the willing- ness and technical ingenuity of man: his peculiarity lies in his ability to change and recreate it. The idea of destiny is the darkest among those thought has measured its strength against, since its beginnings. It should be considered in relation with logos, with the logical-linguistic structures where our experiences of the world have been inscribed, rather than trying to raise holding up to our hair, reflecting on how to be in this emergency, how to answer the appeal “nino rath thie hietarnical ansaning atanre Dewactatian ntearth and estermina nn athilinne
rial’ of different nature where experience is determined). It should generate a changed attitude towards nature and the other animal species, that would no longer be experienced in the separa- tion of the other. The second lives without any nostalgia the progressive detachment that the new technique produces as regards the traditional idea of man and reckons the strengthening of human faculties as foreboding new and unprecedented possibilities to be warmly welcomed. The sunset of man would thus be a hypothesis to examine coldly, with disenchantment, in sight of a wider and more inclusive AI. Now, apart from the fact that today the ways that may bring to the establishment of the first trend seem chimeric, when everything moves towards the second one, in a sort of Totale Mobilmachung, what is common between the two standpoints is the typically humanistic ideal of an emancipation from destiny as something that limits and is not chosen. The first standpoint would mean to get rid of the idea of destiny at the root: there is no human nature, precisely determined from its origin, and the various changes that may produce durable, structural effects are completely contingent. The second one ‘weakens’, empties destiny turning it into an obstacle, a limit to overcome constantly thanks to the willing- ness and technical ingenuity of man: his peculiarity lies in his ability to change and recreate it. The idea of destiny is the darkest among those thought has measured its strength against, since its beginnings. It should be considered in relation with logos, with the logical-linguistic structures where our experiences of the world have been inscribed, rather than trying to raise holding up to our hair, reflecting on how to be in this emergency, how to answer the appeal “nino rath thie hietarnical ansaning atanre Dewactatian ntearth and estermina nn athilinne
bodies. Besides science fiction films, television and cinema, creative art and speculative design projects help us visualise and imagine our future so that we can continue craft ing and contemplating the meaning of being human. It is challenging to govern anc ethically navigate our digitally transforming society, but it is up to us to guide the way and shape the enigmatic future.
bodies. Besides science fiction films, television and cinema, creative art and speculative design projects help us visualise and imagine our future so that we can continue craft ing and contemplating the meaning of being human. It is challenging to govern anc ethically navigate our digitally transforming society, but it is up to us to guide the way and shape the enigmatic future.
For are we not merging with machines?
For are we not merging with machines?
Fig. 1..A proposition for an alt-Parthenon Marbles Recoded: The Phantom as Other. First image is called The Parthenon Marbles Recoded: Phantom as Other, Mixed Media, Photography, Aluminum and Neon Tubes and LED Lights, 3.5 meters x 4 meters. Kunstverein Rosa-Luxemburg Platz.
Fig. 1..A proposition for an alt-Parthenon Marbles Recoded: The Phantom as Other. First image is called The Parthenon Marbles Recoded: Phantom as Other, Mixed Media, Photography, Aluminum and Neon Tubes and LED Lights, 3.5 meters x 4 meters. Kunstverein Rosa-Luxemburg Platz.
Fig. 2. CR2 Parthenon Parthenon Marbles Recoded: Phantom as Other, detail foot. Second image. Detail of Telescoped Phantom Limb, The Parthenon Marbles Recoded: Phantom as Other, Mixed Media, Photography, Aluminum and Neon Tubes and LED Lights, Kunstverein Rosa-Luxemburg Platz.
Fig. 2. CR2 Parthenon Parthenon Marbles Recoded: Phantom as Other, detail foot. Second image. Detail of Telescoped Phantom Limb, The Parthenon Marbles Recoded: Phantom as Other, Mixed Media, Photography, Aluminum and Neon Tubes and LED Lights, Kunstverein Rosa-Luxemburg Platz.
Fig. 3. 3D East Pediment - Brain Without Organs3D East Pediment - 20 minutes, Video Rendering.
Fig. 3. 3D East Pediment - Brain Without Organs3D East Pediment - 20 minutes, Video Rendering.
Related topics:
Human Computer InteractionPerceptionPerforming ArtsDigital HumanitiesClimate ChangeMedia ArtsInteractive ArtNatural and Artificial IntelligenceCritical EngagementCollaborative Critical Thinking
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