Filed under book | Tags: · anonymity, anonymous, art and science, data, digital culture, personhood, privacy, security, surveillance, technology
“Anonymity is highly contested, marking the limits of civil liberties and legality. Digital technologies of communication, identification, and surveillance put anonymity to the test. They challenge how anonymity can be achieved, and dismantled. Everyday digital practices and claims for transparency shape the ways in which anonymity is desired, done, and undone.
The Book of Anonymity includes contributions by artists, anthropologists, sociologists, media scholars, and art historians. It features ethnographic research, conceptual work, and artistic practices conducted in France, Germany, India, Iran, Switzerland, the UK, and the US. From police to hacking cultures, from Bitcoin to sperm donation, from Yik-Yak to Amazon and IKEA, from DNA to Big Data — thirty essays address how the reconfiguration of anonymity transforms our concepts of privacy, property, self, kin, addiction, currency, and labor.” (from back cover)
Contributors: Anon, Götz Bachmann, Dwaipayan Banerjee, Solon Barocas, Aram Bartholl, Amelie Baumann, Vadim Bernard, Paula Bialski, Andreas Broeckmann, Heath Bunting, Martin De Bie, Bureau d’études, Jacob Copeman, Abigail Curlew, Stéphane Degoutin, Simon Farid, Parastou Forouhar, Randi Heinrichs, Anna Henke, Michi Knecht, knowbotiq, Gertraud Koch, Julien McHardy, Helen Nissenbaum, Gerald Raunig, RYBN.ORG, Daniela Silvestrin, Thorsten Thiel, Transformella, Daniël de Zeeuw, Nils Zurawski.
Publisher Punctum Books, March 2021
Creative Commons BY-NC-SA 4.0 International license
PDF (11 MB)Comment (0)
Filed under book | Tags: · aesthetics, affect, archive, art, care, commons, digital culture, infrastructure, knowledge, library, piracy, shadow library, theory
“What do a feminist server, an art space located in a public park in North London, a ‘pirate’ library of high cultural value yet dubious legal status, and an art school that emphasizes collectivity have in common? They all demonstrate that art can play an important role in imagining and producing a real quite different from what is currently hegemonic; that art has the possibility to not only envision or proclaim ideas in theory, but also to realize them materially.
Aesthetics of the Commons examines a series of artistic and cultural projects—drawn from what can loosely be called the (post)digital—that take up this challenge in different ways. What unites them, however, is that they all have a ‘double character.’ They are art in the sense that they place themselves in relation to (Western) cultural and art systems, developing discursive and aesthetic positions, but, at the same time, they are ‘operational’ in that they create recursive environments and freely available resources whose uses exceed these systems. The first aspect raises questions about the kind of aesthetics that are being embodied, the second creates a relation to the larger concept of the ‘commons.’ In Aesthetics of the Commons, the commons are understood not as a fixed set of principles that need to be adhered to in order to fit a definition, but instead as a ‘thinking tool’—in other words, the book’s interest lies in what can be made visible by applying the framework of the commons as a heuristic device.”
Contributors: Olga Goriunova, Jeremy Gilbert, Judith Siegmund, Daphne Dragona, Magdalena Tyzlik-Carver, Gary Hall, Ines Kleesattel, Sophie Toupin, Rahel Puffert and Christoph Brunner.
Publisher diaphanes, Zürich, January 2021
Creative Commons BY-NC-ND 4.0 License
Review: Gerald Raunig (transversal, 2021, DE).
See also Open Scores: How to Program the Commons (2020).Comment (0)
Filed under magazine | Tags: · algorithm, artificial intelligence, design, digital culture, machine, technology
“This publication shows the outcome of a four-day retreat organised by Het Nieuwe Instituut and Volume in June 2016. During this meeting, designers, artists and scientists researched the meaning of artificial intelligence on the practice of cultural research.”
Contributors: Marina Otero Verzier, Klaas Kuitenbrouwer, Luis Rodil-Fernández, Matthew Plummer-Fernandez, Ben Schouten, Nick Axel, Katía Truijen, Lilet Breddels, Merel Noorman, Tamar Shafrir, Füsun Türetken, Femke Snelting, Simone C. Niquille, Dorien Zandbergen.
An insert in Volume #49: Hello World!
Edited by Nick Axel
Publisher Archis Foundation, and Het Nieuwe Instituut, Rotterdam, September 2016