Cyberpunk 2022
Trust in digital communication
How We Founded a Citizen Television StationUnser Weg zum portablen DNA-Synthesizer
US government demands direct police access to European biometric data
Kunst im UmbauK – Kulturarbeit Solidarisch essen, ackern, imkern und wohnenRaum für die schöne Welt Das Fediverse steht für Vielfalt nicht für Einfalt Das Mietshäuser Syndikat und das Neubauprojekt Görzer128Kunst und Kommerz, ein problematisches VerhältnisGeschlechtergerechtigkeit und MakingGit: Let’s f*ck up history, and then restore it«Thank you for your data» oder weshalb uns das Thema Data Analytics interessieren sollteReal citizens of Rheinfelden living in an AI painted model of Jakob Strassers hometownMetaverse und NFT
Dow does the right thing / I have a bad case of diarrhea: the (other) Julian Assange Story
NoisyLeaks! is a moment combining an exhibition alongside a series of events which will take place from October 8th to October 30th, 2022. NoisyLeaks! aims to collectively expose and celebrate the historical and cultural heritage of WikiLeaks and its influence on world-wide practices – a space and moment to share knowledge, practical skills and encourage freedom of information.
One pitfall of feminist narratives can be to separate the female condition from ecology, economy or nationalism; to detach it from what constitutes and sustains it. Another misleading tendency is to place the limelight on women’s prominent achievements, forgetting the daily struggles many face in order to maintain their environment. These are the main issues The Ordinary Lives of Women exhibition challenges.The ten female artists within this exhibition approach the multi-faceted lives of those identified and identifying as women around the world. They address the mundane in the revolutionary and reveal the revolutionary within the mundane. Going beyond iconic and visible moments of feminist acts, they explore how other, less conspicuous acts, such as radical care, can disrupt and sabotage established power, reflected in Antigone’s ultimately fatal refusal to leave her brother’s corpse unburied. Here, the artists do not necessarily defend any feminine or female essence, but rather attempt to reclaim a space for female politics and restate how power shapes every aspect of women’s lives. What may be common to all the works in the exhibition are the quandaries in which women find themselves daily. Women are possessors of bodies which at the same time are publicly owned. Patriarchy offers little recognition of the daily gestures that women implement in order to keep unofficial history alive, to defend the rights of the undervalued, to work and care simultaneously; in other words, the wide variety of women’s modes of resistance.Placing the limelight on the achievements of individual women leaves little space in which to acknowledge the lives of women on an equal footing, and with equal rights and respect. The Ordinary Lives of Women, instead, gives visibility to the mundane, to its constraints and its revolutionary potential. There can be revolution in the mundane, just as there can by mundanity in the revolutionary process. Co-curators: Elise Billiard Pisani, Margerita Pulè Exhibition design: Noura AbdelhafidhFilm programme: Nicole Bearman Catalogue: Ann Dingli
Imagine being dropped on a virtual map, at a random point exactly 100km from Neuer Berliner Kunstverein. You find yourself on a small dirt road with only minimal indicators of how to get back. The challenge is to navigate back to n.b.k. one click at a time.The piece is based on Tomas Schmit, Sanitas – 200 Theater Pieces from 1962:“A bus carries the audience 100 km away. There the audience is deposited.”Only, instead of being abandoned together with a bus full of fellow visitors, you are now abandoned in the comfort of your home on an online map. Walking is in street view with minimal markers and the challenge is to find your way back to Neuer Berliner Kunstverein in the center of Berlin.December 2021<3 !Mediengruppe BitnikCommissioned by Neuer Berliner Kunstverein for the retrospective of Tomas Schmit
We are offering a collection of 5555 NFTs for individual sale. Among these works are the 16 originals that can be seen here on the site. The remaining 5539 works are collectibles that our script has made based on the originals. The sale of the individual works takes place covertly – anyone who buys an NFT does not know beforehand which one it is. Exactly 24 hours after the sale, you will find out which work you have bought. Then you can keep it or sell it on OpenSea. The price per NFT is 0.05 ETH (Ethereum).
Alle NFTshavewesucceededinbuyingthegoldenvisayet.gifvon !MEDIENGRUPPE BITNIKZum Salehavewesucceededinbuyingthegoldevisayet.gifby !MEDIENGRUPPE BITNIKhavewesucceededinbuyingthegoldevisayet.gif is a HQ 4K Status GIF. The current status is No. The GIF will be exchanged to Yes in the smart contract as soon as the Golden Visa is secured.havewesucceededinbuyingthegoldevisayet.gif is part of a series of NFTs by artists to help secure Golden Visas for refugees via the European residency by investment schemeCredits:Photo from Refugee Camp in Lesbos by Milad E.Graphics support by Rahel Arnold, Zurich”NO!” font animation uses blotter.js library https://blotter.js.org/
#purplenoise is an interdisciplinary technofeminist research group that uses real-life events to explore social media as the arena for protest and large-scale political manipulation. The research methodolody includes intervention, infiltration, manipulation, technofeminist propaganda, poetry, fake news, love, and anger.
Elektronika is a project which was launched last February, and aims to develop a historiography of electronic music in Malta. During this summer, Elektronika will enter into a new stage with a series of oral history sessions by which the development and evolution of the electronic music scene in Malta will be explored.The first of such sessions will be called: ‘Session 1: Evolution (focus on the DJ era)‘. Michael Bugeja who is this project’s research co-ordinator will be interviewing four of Malta’s pioneering dj’s in the electronic music scene: Coco, David Dee, Brian James and Owen Jay. The session will be followed by a 1 hour dj set from ‘Tres Moody’ which is a project consisting of David Dee, Brian James and Owen Jay.
The Research Networking Day (RND) is an exchange platform for students and researchers from different graduate and postgraduate programmes traversing the fields of audio, arts, media, design, and related theoretical disciplines. This RND edition will take place in collaboration with Leuphana University, the German Association for Music Business and Music Culture Research (GMM), and Humboldt-Universität zu Berlin.
Refuse To Be Human !Mediengruppe Bitnik !Mediengruppe Bitnik, Refuse To Be Human, 2021 !Mediengruppe Bitnik, Courtesy of the artists / OPEN BerlinEver wanted to surf the web as a bot? Ever wondered what a bot gets to see online that you don’t? In their latest work, !Mediengruppe Bitnik allows you to become a Yandex bot to find out. The number one search engine in Russia, Yandex uses web crawlers that extensively scrape the web for content for their search engines. Only what the bots see is indexed, for discovery later by users searching on Yandex. Refuse to be Human allows you to install a web extension that changes your browser’s user agent to match that of the Yandex bot, giving you access to what is referred to as the ‘grey web’ – a layer of content only visible to bots, and access to websites and archives usually paywalled. Download the browser extension here Firefox Chrome Produced in collaboration with transmediale and Open.Berlin .!Mediengruppe Bitnik (read – the not Mediengruppe Bitnik) are contemporary artists working on, and with, the Internet. Their practice expands from the digital to physical space, often intentionally applying loss of control to challenge established structures and mechanisms. !Mediengruppe Bitnik’s works formulate fundamental questions concerning contemporary issues. In the past they have been known to subvert surveillance cameras, bug an opera house and broadcast its performances outside, send a parcel containing a camera to Julian Assange at the Ecuadorian embassy in London, and physically glitch a building. Their works have been shown internationally, most recently in exhibitions at CAC Shanghai, LOAF Kyoto, Annka Kultys Gallery London, House of Electronic Arts Basel, Aksioma Ljubljana, Kunsthaus Zurich, FACT Liverpool, Onassis Cultural Center Athens, Public Access Gallery Chicago, Nam June Paik Art Center South Korea, Shanghai Minsheng 21st Century Museum, The Pushkin Museum of Fine Arts Moscow, Beijing Contemporary Art Biennial and the Tehran Roaming Biennial.
What do algorithms see when they look at your social media profile? Are you a good provider of content? And what exactly is good? What does the algorithmic view on your social media profiles say about you?
Analyses of social media profiles are employed in an increasing number of real-world transactions. From border control to job applications, social media profiles are used to assess the threat-levels of a candidate and verify their suitability to enter a country or organisaton.
Many of these social media checks are done automatically by algorithmic entities. How and what do these algorithms assess exactly? And what do their assessments look like?
To find out, !Mediengruppe Bitnik used Ferretly, an automated online service used by Human Resources Professionals to evaluate candidates’ social media profiles. Ferretly uses algorithms trained on keywords and image recognition to sift through 7 years of social media history. The service evaluates candidates publically available social media posts on Twitter, Instagram and Facebook, analyzing original posts, reposts, replies, and likes. Additionally, Ferretly will assess any news items they can find.
With their service, Ferretly promises to reduce the risk of letting a person displaying toxic behaviour into your organisation or country. Toxic behaviour is defined in 11 risk categories, from hate speech, political extremism, drug-related content to explicit images and toxic language. The publicly available posts are also used to look at the sub-text of each post: the candidate’s attitude towards the event or situation they are posting about is rated as positive, negative or neutral. Each candidate is judged according to these per-defined flags and sentiment points and given a social media score which rates them as fit or unfit for entry.
!Mediengruppe Bitnik ran the social media profiles of the leaders of each of the 27 EU member states through the service. Bitnik then interpreted the results of the analysis and used this as the basis to devise a customized sweatshirt for each of the 27 profiles.
Each shirt shows Bitnik’s interpretation and visualization of the Ferretly ratings. Besides their social media scores for different parameters, each of the shirts publicly displays a number of flagged posts which were rated by Ferretly as toxic and the reason for this rating. Depending on the report, the shirts contain more or less data. Usually more posts and data meant a worse social media rating by Ferretly.
Like the clothes we wear, our social media profiles have become the carrier of our identities. These online identities are used more and more by the gatekeepers of institutions, countries and organisations to verify that we are worthy of access.
!Mediengruppe Bitnik, Refuse To Be Human, 2021 !Mediengruppe Bitnik, Courtesy of the artists / OPEN BerlinEver wanted to surf the web as a bot? Ever wondered what a bot gets to see online that you don’t? In their latest work, !Mediengruppe Bitnik allows you to become a Yandex bot to find out. The number one search engine in Russia, Yandex uses web crawlers that extensively scrape the web for content for their search engines. Only what the bots see is indexed, for discovery later by users searching on Yandex. Refuse to be Human allows you to install a web extension that changes your browser’s user agent to match that of the Yandex bot, giving you access to what is referred to as the ‘grey web’ – a layer of content only visible to bots, and access to websites and archives usually paywalled. Download the browser extension here Firefox Chrome Produced in collaboration with transmediale and Open.Berlin .!Mediengruppe Bitnik (read – the not Mediengruppe Bitnik) are contemporary artists working on, and with, the Internet. Their practice expands from the digital to physical space, often intentionally applying loss of control to challenge established structures and mechanisms. !Mediengruppe Bitnik’s works formulate fundamental questions concerning contemporary issues. In the past they have been known to subvert surveillance cameras, bug an opera house and broadcast its performances outside, send a parcel containing a camera to Julian Assange at the Ecuadorian embassy in London, and physically glitch a building. Their works have been shown internationally, most recently in exhibitions at CAC Shanghai, LOAF Kyoto, Annka Kultys Gallery London, House of Electronic Arts Basel, Aksioma Ljubljana, Kunsthaus Zurich, FACT Liverpool, Onassis Cultural Center Athens, Public Access Gallery Chicago, Nam June Paik Art Center South Korea, Shanghai Minsheng 21st Century Museum, The Pushkin Museum of Fine Arts Moscow, Beijing Contemporary Art Biennial and the Tehran Roaming Biennial. 