Can a conference be a machine for thinking through new ideas in a collectivity or from a multiplicity of perspectives? Since the question of artistic research in Africa is new and evolving, we have structured the conference to operate as an open-ended interrogative machine. This conference incorporates a wide variety of inputs, from traditional conference paper presentations and panels, to performances, interactive engagements and workshops.We have also been as inclusive as possible, treating postgraduate student work as having the same potential as the work of established figures in the field. All the work selected for this conference was chosen because of the vigour and freshness of the ideas expressed in the proposals, and the potential for the work to open up new ways of thinking about artistic practice and research in Africa in the 21st century.We have designed the conference to foreground the asking of questions, as well as sharing ideas and critique through recognising that artistic research, with its emphasis on embodied knowledge and new forms of subjectivity represents multiple challenges for traditional academic hierarchies. In programming of this conference, we have almost as many “performance-lectures” as we have traditional academic papers. More than one group of presenters have chosen to further question the format of the conference, with anti-panels; while others offer interactive workshops on indeterminism, decolonisation of the mind, and the potential of digital networked media to link embodied performances across the continent.With over sixty presenters, this promises to be a very exciting conference which will articulate the questions that need to be taken forward into the development of artistic research in Africa.
Adnan Hadzi presents thoughts on ‘mindless futurism’ at the Hacking the Computable symposium.
Zur ästhetischen Kritik digitaler Rationalität
Eine Tagung der Staatlichen Hochschule für Musik und Darstellende Kunst Stuttgart/Campus Gegenwart, der Deutschen Gesellschaft für Ästhetik und dem Forum Digitalisierung der Gesellschaft für Medienwissenschaft in Kooperation mit der Zürcher Hochschule der Künste, der Staatlichen Akademie der bildenden Künste Stuttgart und der Université de Fribourg.
Tatsächlich scheinen mit der digitalen Wende, dem ‘digital disrupture’ sämtliche gesellschaftliche und auch kulturellen Prozesse in ein dichtes Netz von Codierungen und Kontrollen eingesponnen, die ebenfalls die Dinge (die ‚smart‘ werden) als auch die Körper und ihre Identität und Integrität wie das Ästhetische selbst und die Künste betreffen. Digitalisierung und Algorithmisierung tangieren im Sinne entscheidungslogischer Programmarchitekturen mittels Artificial Intelligence, Deep Learning, stochastischer Zufallsprozesse Denken und Kreativität als vermeintlich letzte Domänen eines ,Anderen’ der Computation und genuines Residuum der conditio humana.Die Vermutung liegt nahe, dass diese ‚letzten‘ Entscheidungen über den Ort des „Menschlichen“ sowie das, was die Rolle von Ethik und Verantwortlichkeit wie gleichermaßen der kritischen Urteilskraft sein kann, auf dem Feld des Ästhetischen ausgetragen werden – ob als spezifisch ästhetische Anmutung des Technischen und Ökonomischen oder in künstlerischen Formen von Erkenntnis und Kritik. Hier geht es um Möglichkeiten einer Widerständigkeit gegenüber der vermeintlich restlosen Usurpation des Realen durch Algorithmik und Digitalisierung. Die Tagung Hacking the Computable. Zur ästhetischen Kritik digitaler Rationalität versteht sich in erster Linie als Diskussionsplattform, die diese und ähnliche Fragen zu untersuchen, kritisch zu hinterfragen und – möglichst kontrovers – zu überprüfen sucht.Veranstalter*innen: Judith Siegmund, Natascha Adamowsky, Dieter Mersch, Emmanuel Alloa, Daniel Feige
In the framework of Hyperemployment, the symposium AUTOMATE ALL THE THINGS! wants to explore a contradiction implicit in the increasing automation of work: is this process, which should apparently open up a new age of free time, no labour and universal basic income, instead turning humans into software agents, invisible slaves of the machines? Welcomed as a curse by the Luddites a tthe very beginning of the industrial age, throughout the 20th century,automation did not destroy human labour, but profoundly changed itsorganisation on a global scale. In the late-20th century, technological innovations brought automation to a brand new level, accelerating the shift toward a post-industrial economic model. Today, with many jobs previously run by humans becoming fully automated, the dream– or nightmare – of a post-work society seems closer than ever; andyet, at a closer look, automation in its current form isn’t destroying human labour. Rather, it is making it invisible.
Domenico Quaranta Portraying the Invisible Crowd Throughout history, portraying workers has often been a step into recognising their existence, allowing them the dignity tobe considered as a subject, as well as the representatives of a “class”. Digging into the research for the show, Hyperemployment’s curator Domenico Quaranta will offer atour through various artistic efforts to portray online workers,from Chinese Gold Farmers to scan-ops, from gig workers to online content moderators.
KEYNOTE Elisa Giardina Papa Notes on Post-Work: Free Time and the Human Infrastructures that Sustain Automation and Artificial Intelligence Most of the academic and political discourse on post-workhas focused on the relationship between automation andfree time. That is, it has posited that automation has theemancipatory potential to free us all from work: to reducenecessary working hours or at least to devote ourselvesto more intellectually rewarding jobs (immaterial labour).What is not fully convincing about this approach is that it isgrounded in a hierarchical separation between machinesand humans. What is missing is the acknowledgment of thehuman infrastructure that sustains automation and artificialintelligence. The invisible, precarious, alienated, low-paidand offshored workforce that automation requires in orderto function properly. These workers and their tasks are thefocus of this talk.
LECTURE PERFORMANCE Sebastian Schmieg I Will Say Whatever You Want In Front Of A Pizza, 2017 I Will Say Whatever You Want In Front Of A Pizza is aspeculative Prezi (a presentation software) that exploresdigital labour, the amalgamation of humans and software,and the possibility of interventions inside algorithmic systems.Narrated from the perspective of a cloud worker, the Prezivideo presents digital workers as software extensions. Theubiquitous network and the computerisation of everythinghave not only blurred the lines between bots and people –supposedly autonomous programs are sometimes people whohave to act as if they were software; this development hasalso made it very easy for everyone to hire, programme andretire humans as part of any workflow: bodies and minds thatcan be plugged in, rewired and discarded as one sees fit.
BOOK PRESENTATION Silvio Lorusso EntreprecariatEntreprecariat (Krisis Publishing, 2018; Onomatopee, 2019) explores and maps out the current entrepreneurial ideology from a precarious perspective. The Entreprecariat indicates a reality where change is natural and healthy, whatever it maybring. A reality populated by motivational posters, productivity tools, mobile offices and self-help techniques. A reality in which a mix of entrepreneurial ideology and widespread precarity is what regulates professional social media, online marketplaces for self-employment and crowdfunding platforms for personal needs. The result? A life in permanent beta, with sometimes tragic implications.
ROUND TABLE Michael Mandiberg Sašo Sedlaček Sanela Jahić Domenico Quaranta – moderator Art Making in the Age of Automation How does the increasing automation of labour affect artistic practice, on all the levels of content, process and form? How is it affecting the present society and our vision of the future?What can art do to deal with the increasing fragmentation of human labour and its disappearance from visibility, and give it back its presence and dignity? Taking off from their own work and from the statements of other participants in the symposium, the artists involved in the round table will attempt to offer an answer to these and other questions.
This boat book & blog documents our journey on our narrowboat ‘Quintessence’ and the development of the boattr prototype in collaboration with MAZI (for “together” in Greek), a Horizon 2020 research project. Boattr connects narrow boats to the ‘Internet-of-Things’ and allows for open wireless mesh-networking within the narrow boat community, by using affordable microcomputers. The main goal of this project is to provide technology and knowledge that aims to 1) empower those narrow boats who are in physical proximity, to shape their hybrid urban space, together, according to the specificities of the respective local environment, and 2) foster participation, conviviality, and location-based collective awareness of the canals.
This is an edited collection of assembled and annotated boat logs, photographs and video essays, manifested, in a scholarly gesture, as a ‘computer book’.
The boattr prototype was built on the MAZI toolkit and the capabilities offered by Do-It-Yourself networking infrastructures – low-cost off-the-shelf hardware and wireless technologies – that allow small communities or individuals to deploy local communication networks that are fully owned by local actors, including all generated data. These DIY networks could cover from a small square (e.g., using a Raspberry Pi) to a city neighbourhood (e.g., the Commotion Construction Kit used at the RedHook WiFi initiative) or even a whole city (e.g., guifi.net, awmn.net, freifunk.net), and in the case of boattr the UK canal network.
The boattr DIY infrastructures offer a unique rich set of special characteristics and affordances for offering local services to the narrow boat community, outside the public Internet: the ownership and control of the whole design process that promotes independence and grass-roots innovation rather than loss of control and fear of data shadows; the de facto physical proximity of those connected without the need for disclosing private location information, such as GPS coordinates, to third parties; the easy and inclusive access through the use of a local captive portal launched automatically when one joins the network; the option for anonymous interactions; and the materiality of the network itself. The prototype integrates existing FLOSS software, from very simple applications to sophisticated distributed solutions (like those under development by the P2Pvalue project, mobile sensing devices, and recent developments in open data and open hardware), allowing it to be appropriated by different non-expert users according to their respective context and use case.
Table of Contents
Research Journal
Adnan Hadzi
Boat Log
Adnan Hadzi & Natascha Sturny
Reflections
Natascha Sturny, Rob Canning & James Stevens
Videos
Adnan Hadzi
Images
Natascha Sturny
Resources
Franz Xaver & Anton Galanopoulos
Editor
Adnan Hadzi
Authors Collective
Adnan Hadzi
Natascha Sturny
Franz Xaver
Anton Galanopoulos
James Stevens
Rob Canning
Tech Team
Harris Niavis – MAZI Programmer
Giannis Mavridis – Micro-Computer Programmer
Producers
Adnan Hadzi – Format Development & Interface Design
Panayotis Antoniadis – MAZI Project Manager
Mark Gaved – Coordination Creeknet
Quintessence Logo: H1 Reber / Buro Destruct
Cover artwork and booklet design: OpenMute Press
Copyright: the authors
Licence: after.video is dual licensed under the terms of the MIT license and the GPL3
http://www.gnu.org/licenses/gpl-3.0.html
Language: English
Assembly On-demand
OpenMute Press
Acknowledgements
Co-Initiated + Funded by
Horizon 2020 – The EU framework programme for research and innovation
The Mazi project (2016-2018) has received funding from the European Union’s Horizon 2020 ICT CAPS initiative under grant agreement no 687983.
Thanks to
Ushi Reiter – Art Meets Radical Openness, Servus.at, Linz
Vince Briffa – Department of Digital Arts, University of Malta
Clemens Apprich – Centre for Digital Cultures, Lüneburg
Rob Canning – School of Art and Design, Coventry University
Gary Hall – School of Art and Design, Coventry University
It’s that time of the year for us to meet and have a laugh, drop some tracks, have a jam and eat some healthy food together. Join us in our festive season get together!On Saturday, 4th January 2020, we celebrate a busy year and the start of a more busy and sure more exciting year 2020.We will discuss exciting new developments and opportunities ahead of us plus you will get to meet new members of the EMM team.Various dj’s and friends will be invited to play, you can bring your own laptop or records to play too!Plus we will be bringing some music rig with us too, so please do not hesitate to bring your own synth or drum machine for a music jam with us.
