Difference between revisions of "Sean Dockray"

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==Writings==
 
==Writings==
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* with Steve Rowell and Fiona Whitton, [https://www.cabinetmagazine.org/issues/17/blocking.php "Blocking All Lanes: Sig-Alerts, Detection Loops, and the Management of Traffic"], ''Cabinet'' 17: "Laughter", Spring 2005.
 
* [[Media:Dockray_Sean_2010_The_Scan_and_the_Export.pdf|"The Scan and the Export"]], ''Fillip'' 12: "Critical Forms of Publicness", 2010, pp 98-111.
 
* [[Media:Dockray_Sean_2010_The_Scan_and_the_Export.pdf|"The Scan and the Export"]], ''Fillip'' 12: "Critical Forms of Publicness", 2010, pp 98-111.
* with Matteo Pasquinelli, Jason Smith and Caleb Waldorf (The Public School Los Angeles), [http://journalment.org/article/there-nothing-less-passive-act-fleeing "There is Nothing Less Passive Than the Act of Fleeing"], ''...ment'' 1, 2010.
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* with Matteo Pasquinelli, Jason Smith and Caleb Waldorf (The Public School Los Angeles), [http://web.archive.org/web/20160811212119/http://journalment.org/article/there-nothing-less-passive-act-fleeing "There is Nothing Less Passive Than the Act of Fleeing"], ''...ment'' 1: "Welfare State", 2010, [[Media:Dockray Pasquinelli Smith Waldorf 2010 There is Nothing Less Passive than the Act of Fleeing.pdf|PDF]].
* [https://monoskop.org/images/d/d4/Lewandowska_Marysia_Ptak_Laurel_eds_Undoing_Property_2013.pdf#page=94 "Interface, Access, Loss"], in ''Undoing Property?'', eds. Marysia Lewandowska and Laurel Ptak, 2013, pp 183-194.
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* [https://monoskop.org/images/d/d4/Lewandowska_Marysia_Ptak_Laurel_eds_Undoing_Property_2013.pdf#page=94 "Interface, Access, Loss"], in ''Undoing Property?'', eds. Marysia Lewandowska and Laurel Ptak, Berlin: Sternberg Press, 2013, pp 183-194.
* [http://academia.edu/10386709 "Openings and Closings"], in ''Contestations: Learning From Critical Experiments in Education'', eds. Tim Ivison and Tom Vandeputte, Bedford Press, 2013. [http://x-traonline.org/article/rethinking-pedagogical-aesthetics/ Commentary by Jacqueline Bell].
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* [[Media:Dockray_Sean_2013_Openings_and_Closings.pdf|"Openings and Closings"]], in ''Contestations: Learning From Critical Experiments in Education'', eds. Tim Ivison and Tom Vandeputte, Bedford Press, 2013. [http://x-traonline.org/article/rethinking-pedagogical-aesthetics/ Commentary by Jacqueline Bell]. [http://academia.edu/10386709]
 
* with Lawrence Liang, [http://supercommunity.e-flux.com/texts/sharing-instinct/ "Sharing Instinct: An Annotation of the Social Contract Through Shadow Libraries"], ''e-flux journal 56th Venice Biennale'', 14 Aug 2015.  
 
* with Lawrence Liang, [http://supercommunity.e-flux.com/texts/sharing-instinct/ "Sharing Instinct: An Annotation of the Social Contract Through Shadow Libraries"], ''e-flux journal 56th Venice Biennale'', 14 Aug 2015.  
 
* [https://www.artlink.com.au/articles/4571/fake-news-artificial-intelligence-and-data-visuali/ "Fake News, Artificial Intelligence and Data Visualisation"], ''Artlink'' 37:1, Adelaide: Artlink Australia, Mar 2017.
 
* [https://www.artlink.com.au/articles/4571/fake-news-artificial-intelligence-and-data-visuali/ "Fake News, Artificial Intelligence and Data Visualisation"], ''Artlink'' 37:1, Adelaide: Artlink Australia, Mar 2017.
 
* with Benjamin Forster, [https://monoskop.org/images/3/3f/Blamey_David_Haylock_Brad_eds_Distributed_2018.pdf#page=202 "README.md"], in ''Distributed'', eds. David Blamey and Brad Haylock, London: Open Editions, 2018, pp 198-213.
 
* with Benjamin Forster, [https://monoskop.org/images/3/3f/Blamey_David_Haylock_Brad_eds_Distributed_2018.pdf#page=202 "README.md"], in ''Distributed'', eds. David Blamey and Brad Haylock, London: Open Editions, 2018, pp 198-213.
* [https://www.academia.edu/38550557/ "Learning from YouTube"], in ''Rivers of Emotion, Bodies of Ore'', Oslo: Not Yet Titled Press, and Trondheim: Kunsthall Trondheim, 2018.
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* [[Media:Dockray_Sean_2018_Learning_from_YouTube.pdf|"Learning from YouTube"]], in ''Rivers of Emotion, Bodies of Ore'', Oslo: Not Yet Titled Press, and Trondheim: Kunsthall Trondheim, 2018. [https://www.academia.edu/38550557/]
 
* [https://www.artlink.com.au/articles/4725/artificial-imagination-deepfakes-from-latent-space/ "Artificial Imagination: Deepfakes from Latent Space"], ''Artlink'', 1 Dec 2018.
 
* [https://www.artlink.com.au/articles/4725/artificial-imagination-deepfakes-from-latent-space/ "Artificial Imagination: Deepfakes from Latent Space"], ''Artlink'', 1 Dec 2018.
 
* ''[https://monoskop.org/log/?p=21787 Performing Algorithms: Automation and Accident]'', Melbourne: University of Melbourne, 2019, 146 pp. PhD dissertation.
 
* ''[https://monoskop.org/log/?p=21787 Performing Algorithms: Automation and Accident]'', Melbourne: University of Melbourne, 2019, 146 pp. PhD dissertation.
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* [http://metadada.xyz/files/AI-Commune.pdf "AI-Commune"], c.2019. [https://ima.org.au/ima-events/ai-commune/] [https://www.monash.edu/mada/events/2017/mada-talks-sean-dockray]
  
 
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Revision as of 11:53, 21 March 2021

Sean Dockray is an artist and writer whose work explores the politics of technology, with a particular emphasis on artificial intelligences and the algorithmic web. He is a founding director of the Los Angeles non-profit Telic Arts Exchange, and initiator of knowledge-sharing platforms, The Public School and AAAARG.ORG. Sean is on the Board of Directors of the Melbourne non-profit arts organisation, West Space.

His written essays address topics such as artificial intelligence (Artlink), online education (Frieze), the militarisation of universities (in Contestations: Learning from Critical Experiments in Education), book scanning (Fillip), traffic control (Cabinet), and radio (Volume).

The Public School (for Architecture), in partnership with common room, was awarded The New York Prize Fellowship by the Van Alen Institute and was supported by the performance biennial, Performa. As a research fellow at the Post-Media Lab at Leuphana University, he explored the physical infrastructure of the sharing economy, focusing on Facebook's northern European datacenter.

His practice-led PhD at the University of Melbourne, Performing Algorithms: Automation and Accident investigated how artists might stage encounters with the algorithms driving our post-industrial, big-data-based, automatic society. Through a series of expanded lecture performances, it seeks to discover ways in which to advance new critical positions within a totalizing technical apparatus whose very design preempts it. Between reappraisals of generative art and glitch - two approaches favored by technologically engaged artists - this project identifies “not working” as both accident and a condition of labour under automation. The research offers an expanded notion of the essay, understood not as a form confined to the printed page but as a methodology expanded to lecture performances, installations, videos, chatbots, and neural networks, where writing, scripting, and coding interweave. Such essays collapse distanced description in order to set the algorithmic machines into motion. (2021)

Writings

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Interviews

See also

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