NOW PLAYING ----> Real Virtuality: The Networked Art of Garrett Lynch
The project explores the intersection between the aesthetic of far-right politics and the languages of the social media. The main topic is the rise of nationalist parties over the world, mostly in Europe, and how it takes shape in social networks.
Taking control of the platform from an extreme position will be the storytelling of a dystopian context. All modifications on the activity of the social networks will make visible the empowerment of radical ideologies. Posts, likes, comments and other interactions will try to generate a critical feedback and draw attention to the political contemporary situation.
Rooms are essential sources for the home-coming feeling everybody develops during life. Our private rooms are filled up with psychological projections, unfilled wishes, hopes and dreams. But there are psychological rooms, too, filled with emotions, expectations, all kind of mental energy, may it be positive or negative.
The Room Project is built up of several video works, mostly one channel. Each work focuses on a profession, a special kind of room (e.g. a stage, a show case, a castles room etc.), intermingled with linguistic meaning of the profession, the room and language itself.
This residency will engage with the usage of machine learning within Instagram to highlight the ‘gateway drug’ like effect of its interface. An Instagram account will be created and trained to display the most explicit and harmful content on its platform. Widespread violence, misogyny and the absence of trigger warnings within the UI means that anybody can access the content and be affected by it.
By screen recording this activity, I will create a series of videos that combine sounds from the platform along with layers of video humanly processed to reflect the experience of visiting similar accounts and posts over a 4-week period. Each week I will focus on a different aspect of the harmful content on the platform and respond to it with a video accumulated from that week’s engagement with the platform.
Words wailing in the void between send and receive uses performative and embodied patterns of writing, which are designed to challenge general modes of traditional literary practice and blur the arbitrary distinctions between poetry, fiction, tweets and critical or theoretical analysis. Everything I write starts as a tweet. I am interested in playing with text through reading and representations of performativity that allows me to speak to my experiences of alienation and dislocation as being Māori, Pākehā and a digital ‘native’.
I’ll be staging a month-long performance on Instagram as a net art 'influencer,' who shares her well-lit life and various sponsorships daily - Tom's Organic toothpaste keeps her mouth feeling fresh while she programs Twitter bots in a gleaming office space of her own design. She offers expensive coaching services and mastermind groups so that others can join her in total career freedom. She is just like you. After her character has been established, she begins to spiral downwards during a weeklong teatox. Through a series of bizarre confessions and desperate attempts to make the mundane interesting and profitable, she abandons the platform entirely, only to reappear to her following a few days later, rebranded as a fitness account.
h:3 it has it’s called :: _____________________
but AAAA _____________________ in italics, isn’t rly _______________________
so I guess _____________________ will have to __________________________
_____for_once_[~]_seα /=/ - ^
there might be an interdimensional virus feeding
on everything that could, yet didn’t happen in my timeline.
I feel infected and I think I woke up wrong.
There is a viscous fusion of truth and falsehood on the Internet; particularly concerning the way social media enables us to perform our identity. Authenticity is impossible when we have complete control over what is shared and what remains unseen. The performance of the self becomes dominant over the authentic self, a curated fiction blends into truth. This act of performance is rarely questioned, as we consume each other’s media on social networks and thus contribute to a collective obscurity of reality.
In order to explore the idea of the artificial self, this work is manifested as a 3D modeled digital avatar named Orchid who stems from my own, corporeal presence. This avatar is entirely artificial but mimics the strategies we use in media, specifically social media, to perform a version of ourselves for the viewing pleasure of others. As a way of taking ownership over my complicity in this cycle, I have taken this performance to a more extreme extent: I have formed a new identity through which to perform. In conceiving of digital space as queer space, Orchid and I exist as two separate entities. Orchid’s persona is based on mine but is autonomous, even as it is under my authority in my role as the administrator, behind the screen. Under the handle @digitalqueer Orchid can communicate with the corporeal world from within their digital one.
Eric B. Hansen uploads under the username Santa Barbarian on the public preservation website Internet Archive. I know his past addresses, children's names, and social security number. He archives photographs and videos of everything he sees; every receipt, job application, sidewalk sale, jotted note and self-portrait. There are thousands of these uploads and there are more every day. Yet I have not been able to make contact with him. With this residency, I will relocate many of Eric Hansen's images to social media to attempt a more personal interpretation of their existence on the internet. I will creative speculative narratives from the information available in these artifacts, posting in the first-person as Hansen, guessing and piecing together a fractured narrative of a very personal life presented publicly, questioning the process of self-archiving and what and how much should be preserved in public when the archivist is his own subject, and the issues of observing a living archive.
Climate change and ecological catastrophe peeks at us through the cracks of our phone screens and whispers in our ears like the hum of a data center heat exchanger. While individual actions to reconcile the situation are statistical meaningless, perhaps a genuine symbolic effort does have an effect? Science has proven that some plants have a measured positive response to human touch. People say a lot that we are losing touch with “nature”. While the idea of a “nature” that needs our help might seem kind of quaint now, wouldn’t one of the steps to move towards such a goal be to generate a kind of empathy or intimacy to the natural world, even while we relentlessly become more entangled with technology?
This project seeks to intentionally cultivate and spread moments of literal connection to the environment, taking inspiration from the endless stock images of hands wistfully caressing grass fields and plant fronds that have become an internet trope. As apps like instagram increasingly become a mode of cultivating intimate communication in our social circles, why not willfully include an intimate interface with your ecological environment in this format? Just as we use technology to perform our identities online, this project seeks to enact and archive performative connections to ecology through digital means.
In Native ARTvertising, Marie Muzerelle and Louis Frehring will explore the codes of advertising in social medias by working within the context of sponsored content with artworks instead of commercial goods. During the whole length of the residency, they will turn Peripheral Forms into a sort of advertising agency that will charge other artists to display their artworks in its social media feeds; and, in a similar way as for sponsored content (which is advertising disguised as regular information or unbiased content) they will exhibit artworks in photographs and videos created in that specific goal. They will perform this project on Instagram, Facebook and Twitter playing the roles of influencers, unscrupulous curators and artists by publishing a narrative including these placements.
Over the past 10 years I have documented word-based social media and technological observations, and stored them on a dedicated private Blogger site. Recently, after witnessing the new roll out of the colour/design themed Facebook "status updates", I have chosen to publicize these memorandums by utilizing the Facebook platform as a form of presentation.
There is an automatic connection with the present/immediate theme of a status update and the action of revealing my archive through such a platform. It is the moment when the personal becomes public, but then proceeds to go past the social normality of a status update, sometimes with uncomfortable or redundant connotations. A contemporary moment in media theory; the personal dissemination of information through technology.
Over the course of the month of October I will be using Peripheral Forms’ Facebook page to present these “memorandums” by blending them in with the news feed of a potential viewer or page follower. I will also be using the Peripheral Form’s twitter account to publish a small selection of these memorandums. I will then use these new tweets, along with the previously tweeted content of the PF twitter account, to create new memorandums by mashing the different tweets together with the use of a text algorithm. The feed will become self-sufficient in source content and the newly created memorandums, realized specifically for this residency, will become the feed’s content for the remainder of the month.
Idiosyncratic stories about micro-events and historical accountability. Christopher Miller is an emerging artist and curatorial organizer dedicated to the proliferation of a critical contemporary art discourse and models of alternative education. Most of my work is focused on the idea of a masochistic unconscious and its effects on the trajectory of scientific enterprise. Masochists idealize waiting because they believe that they know what is to come. Conditional to my work is the parallel drawn between the vulnerability of the mortal and the practice of wasting time.
The Creative Crawl has become the dominant master language through which new bodies are built. We construct identity, form digital and *real*. The artist (some Thing called Kevin Brophy) sees a space where this construct can be transcended through the self-creation of multiple avatars, but, also, a space where neglectful production of mainstream programmers and developers lead to the recreation of our cultural bigotry in the form of apps, games—specifically ai. With +impersons+, through poetic syntax and superfluous text that subverts and queers master language, the artist performs less for a human audience, and more for machine. The artist as data to mine. Slanted communication. Chaotic demographics. And, see we in misinformation: human-impersonating-bot.
OTHERTONGUE is a new language made through a variety of processes involving image making, wordplay and audience collaboration. The language started whilst Herne was an artist in residence at House Conspiracy in Brisbane: http://houseconspiracy.org/liam-herne.
Herne plans to develop this language further by using it to interact with others through social media in an effort to explore how languages evolve to the point where they are used in our everyday lives and culture.
This residency will document what happens when a foreign language is introduced to the network and how people react to it.
Crowdfunding Idea: Not very original but I would be happy to create a limited edition print that I could send to anyone who donated to the project.