It’s 2017 and computer graphics have conquered the Uncanny Valley, that strange place where things are almost real… but not quite. After decades of innovation, we’re at the point where we can conjure just about anything with software. The battle for photoreal CGI has been won, so the question is… what happens now?
Auction action – commission an artwork, listed on eBay as ART, LIMITED EDITION, PRINT | Auction action – commission an artwork #exstrange, were transformative actions that occurred within the context of the networked performance Transformations: Actions to Matter / Matter to Actions by Garrett Lynch.
Transformative actions within Transformations attempt to source items for free online and then sell them online. Actions that are performed online are considered to occur within a ‘virtual’ or digital context. Items that are acquired as a result of actions are physically manifested in ‘real’ contexts. A transformation therefore occurs from ‘virtual’ to ‘real’ and then back to ‘virtual’ again. The internet is both a staging ground for initiating transformation as well as the final destination for the items acquired and the documentation produced.
On the changing role of archives in the digital age
Do ‘Living Archives’ provide a space for erased, forgotten, neglected and new memories?
Editor: Annet Dekker
Contributors: Babak Afrassiabi, Dušan Barok, Tina Bastajian, Nanna Bonde Thylstrup, Özge Çelikaslan, Annet Dekker, Olia Lialina, Manu Luksch, Nicolas Malevé, Aymeric Mansoux, Michael Murtaugh, Josien Pieterse, Ellef Prestsæter, Robert Sakrowski, Stef Scagliola, Katrina Sluis, Femke Snelting, Igor Štromajer, Nasrin Tabatabai [Read more…]
Workshop 22 July, 12pm start
with Nicolas Malevé and Adam Brown: Rethinking workshop / Rethinking work
@The Photographers’ Gallery in London [part of geekender and Experimental Photo School]
16 – 18 Ramillies St, London W1F 7LW
What kind of work is photography, and how can a photographic worker be taught, in the face of increasing automation, precarious working and a saturated market? Thinking back to the beginnings of workers’ education in the nineteenth century, a historical emphasis on self-empowerment through creativity persists in contemporary creative education, but how does one empower an algorithm, and does the camera or digital network now play the role of ‘middle management?’ [Read more…]
Spectacle, Speculation and Spam by Alan Warburton
This video essay was created by Alan Warburton for the Edge of Frame Weekend seminar at The Whitechapel gallery in East London in December 2016. Artists, curators and academics were asked to explore where experimental animation practice sits in relation to independent animation, visual art, histories and institutions. Rather than presenting papers, participants were challenged to cite up to three works that illustrated their case.
29 Jun, 10.15 – 17.00 @ Mayday Rooms, 88 Fleet Street, London
The Centre was established formally in November 2015 and is pleased to convene its first annual review of its PhD research programme with invited external respondents. Lunch will be provided and time to celebrate the achievements of the year with a drink afterwards.
The programme for the day will involve a closed morning session with presentations from five research projects together with invited comments. The afternoon session will open with a reading session led by Daniel Rubinstein followed by a keynote presentation from Olga Goriunova.
The provocation for wider discussion is that the networked image suggests a rejection of meaning to be found in the singular image, icon or even artist’s work in favour of looking for new process of value in modes of production and reproduction in the allegiances between humans and machinic agents. This complex of agents can be termed the networked image. As such networked image can be considered as a way of seeing, a way of (re)producing and possibly a way of comprehending relations involved in its making.
The research project presentations have a range of subjects, through which a common set of theoretical and methodological themes can be detected. We hope that through comment and discussion we can identify more clearly the underlying problems and their proposed solutions.
Panel: Unthinking Photography: cultural value and the networked image
@ Ways of Machine Seeing organised by Cambridge Digital Humanities Network, and CoDE (Cultures of the Digital Economy Research Institute) and Cambridge Big Data
with Nicolas Malevé, Gaia Tedone, Katrina Sluis, Annet Dekker, Magda Tyżlik-Carver, Andrew Dewdney
“If the new language of images were used differently, it would, through its use, confer a new kind of power.” John Berger. (1972) Ways of Seeing,P33
John Berger’s BBC broadcast experiment ‘Ways of Seeing’ argued that vision and seeing are essentially meaning making activities. Revisiting this understanding of the reproductive and cultural modes of seeing now in computational culture is timely, not least because Berger was concerned with a politics of culture that required new ways of thinking and acting.
Indexical and archival representation of a unique point of origin is no longer a sustainable definition for the image and yet its reproduction in culture persists, cloaking the reality of image production as an unspoken set of allegiances between human and machinic agents. This complex of agents can be termed the networked image and considered as a way of seeing. Working out epistemological and ontological accounts of the entanglements between computational and cultural languages is needed in order to identify and translate the politics and power of the networked image.
9 Jun 2017, 18.30
@ The Photographers’ Gallery
with Özge Ersoy, Nour A. Munawar, Sarah Nankivell, Christina Varvia
curated by Annet Dekker
Trafficking of cultural heritage is nothing new. It ranges from the looting of archaeological sites, theft from cultural heritage institutions and private collections, and the displacement of artefacts due to war. Recently a new phenomenon can be added to this list: the filming of destructions of “fake” ancient relics, while the originals are quickly and illicitly traded.
Following the release of such videos by ISIS, many Western nation states reacted with outrage and responded by attempts to digitally preserve or rebuild of some of the remains. While adopting conventional methods of appropriation, and ignoring their own role in these (fake) destructions, a new player entered the marketplace: commercial companies specializing in 3D modelling and printing.
The possibility of generating detailed copies of an artefact without the need to access it brings undeniable benefits in terms of its accessibility and preservation. It allows people access to lost ‘treasures’; a digital model can capture the appearance and shape of an object in a way that a 2-dimensional representation could never do. Rather than being committed to the preservation of cultural heritage it could be argued these companies are profiting from the reselling of copyrighted files. Drawing attention to the importance of a freely shared memory and using the power of technology, artist Morehshin Allahyari devised her own method to counter what she considers to be a new ‘digital colonialism’. Based on found footage from exhibition catalogues, tourists’ snapshots and using her imagination, she created 3D visualization models from scratch in her project “Material Speculation: ISIS”. Realised as 3D printed sculptures, these cultural objects have the documentation of their creation embedded on a flash drive inside the model, which has also been shared by Allahyari online for others to use.
Reflecting on Allahyari’s use of technology as a political medium, the panelists will present their views on what could be a decolonialist practice. They will show how re-use and re-interpretation allow for a new set of values to emerge in which destroyed objects, and their users, regain agency through digitisation. [Read more…]
Exhibition: Transformations @ Borough Road Gallery,
103 Borough Road, London SE1 0AA
The School of Arts and Creative Industries
Vernissage: 23rd June 6-8pm
Exhibition Open: 26 – 30 June 2017, 11am – 7pm
The School of Arts and Creative Industries invites you to a solo exhibition of networked artworks by artist Garrett Lynch (IRL), titled Transformations.
Transformations presents nine networked artworks conceived over a four-year period that explore a practice involving networks. Each artwork provides an example of transformation by a network. This includes the transformation of what is arranged as part of the conception of the artwork and as a consequence the transformation of what can be considered as an artwork.
Garrett Lynch is an artist, lecturer, curator and theorist. He has exhibited internationally at 319 Scholes in New York, the V&A in London, Filmwinter Festival for Expanded Media and Edith Russ Site for Media Art in Germany, FILE festival in Brasil and Videoformes International festival of video art and multimedia in France. Recently most active in networked performance Garrett’s practice explores the spaces between artist, artworks and audience as a means, site and context for artistic initiation, creation and discourse.
Please register your attendance for the vernissage on the 23rd of June via Facebook.
5-7 May 2017
TPG Geekender: Experimental Photo School
with Morehshin Allahyari, Gretchen Andrew, Adam Brown, Rich Cochraine, Claire Davis, Gene Kogan, Nicolas Malevé, Andrew McGettigan, David West,
organised by Katrina Sluis, Ioana Zouli with support from Nicolas Malevé
The collision of photography with planetary scale computing is transforming the medium, disrupting traditional conceptions of visual literacy, raising new questions concerning the agency and cultural value of images and creating new job opportunities even as it destroys others.
Today, computer scientists develop algorithms to read, organize and valorize the billions of images which circulate online without familiarity or reference to the history of aesthetics or photography theory. Animals, weather cameras and Twitter bots create images for large online audiences. The product photography which plasters our magazines and screens now originates in CGI software rather than the photography studio.
The camera itself is becoming an increasingly intelligent agent, remade by those in the field of computational photography who proclaim that “software is the new optics”. Photographers are now advised to create their portfolios not for the aesthetic sensibility of the human eye, but for the seduction of search engines using SEO and carefully coded templates. The mirage of analogue culture becomes fetishized as the hyper-analogue both at the consumer level (with platforms like Instagram) and the art world (with the return of the unique photographic print).
Over the first weekend in May, The Photographers’ Gallery digital programme will be transforming the Gallery into an Experimental Photo School, with a series of workshops, talks, reading groups, drop-in sessions and a new Media Wall commission by Morehshin Allahyari.
For the full list of events and how to book see Experimental Photo School at The Photographers’ Gallery
CSNI Panel Discussion with Anne-Marie Schleiner (via video link), Michaël Borras A.K.A Systaime, Gaia Tedone curated and moderated by Magda Tyżlik-Carver.
Thursday 6 Apr, 18.30.
The claim that curating is posthuman recognises the changing modes of curating in the world of mass participation in and mass creation of popular culture. It is no longer just about meaning making by art professionals who commission, archive and interpret objects in museums’ collections but it defines a popular activity performed daily by agents of different orders. Not just curators but users of social media, not just people but algorithms and software are actively involved in managing, organising and evaluating content. Curating has become a practice that supports creation of narratives and online personas, generation of data and content that is displayed and managed across different social media platforms. While using digital objects and networked images to represent identities and conceptualise ideas about the world, the self and others, curating is firmly situated as an element of computational cultures distributing, constructing and performing ever new subjects, content, data, objects, and concepts.
05 April 2017
10h – 16.30h
Instituto Universitário da Maia, Porto, Portugal
With Tiago Cruz, Irene Luszting, Magda Tyżlik-Carver, Francisca Gonçalves AKA DJ Sininho, Ricardo Salazar
Expressions with sound and image. Technic-praxis-theory is a series of open classes, promoted by the curricular unit of scenic arts of the arts and multimedia course at the Instituto Universitário da Maia in Porto, Portugal, presenting artistic work, and national and international investigations in the various areas of sound and image.
15:00 – 17:30
Executing Practices is a public book launch and alternative presentation of content from Data Browser 6: Executing Practices, to be published by Autonomedia in early 2017. The book brings together artists, curators, programmers, and theorists whose practices make critical intervention into executions (of code, orders, laws etc.), drawing attention to their assembled structures and biopolitical strategies. The contributing authors engage with execution from diverse vantage points, defining the actors and forces guiding execution practices, and for whom or what they are performed. Queering the typical book launch, the event features different execution practices from the book, expanding related dialogue beyond the written texts.
On audience attitude in participative and interactive forms
by Garrett Lynch
Part of InDialogue, Notthingham Contemporary, 1 and 2 December
Audiences are experiencing a growing apprehension and distrust of interaction in art and a reluctance to engage with art that employs it. Interactive art can be categorised in broadly two ways: works that are highly technological or works that are highly social. While apprehension of interaction in art has always existed it is proposed that rather than originating from fear of technology or social embarrassment, it now originates in an understanding of what technology can do (e.g. surveillance, data harvesting etc.) and a hyper-awareness of the self in the public sphere.
In Unthinking Photography, September 2016
This short text is the result of an attempt to understand photographic theory by YouTube, which took the shape of an online errand of forking paths, full of interesting digressions, leading of course everywhere and nowhere. After several evenings of semi-distracted browsing and a solid half-day of clicking and watching I had to put a stop to it. Just how many paid/unpaid, work/leisure hours should one dedicate to the world’s third most visited website, where five billion videos are watched each day by over one billion users who upload 300 hours of video every minute ? By what methods is such a vast repository of data to be navigated and made sense of? Or, perhaps the goal of making sense belongs to an older and possibly generational logic, now overturned by the non-linear essence of digital archives and the click or swipe of a screen replacement. As a strategy to avoid the mental exhaustion of finding a theory of photography via YouTube the quest took a reflexive turn towards the question of what YouTube does to the user. A question I consider more anchored in the body, real time and space and possibly more pertinent to our period of accelerated cultural consumption and its precarious conditions. Surely, if you can watch a video that shows you how to remove the oven door, then you can learn about photographic theory, or can you? [Read more…]
In Unthinking Photography, September 2016
I am watching Professor Fei-Fei Li, director of Stanford Artificial Intelligence Lab giving a TED Talk titled ‘How we teach computers how to see’, uploaded to the YouTube platform. She begins her lecture by evoking an image of a three-year-old girl: “She might still have a lot to learn about this world, but she is already an expert at one very important task: to make sense of what she sees.” (00:38)
The little girl is the first of the many children that will illustrate the presentation, including Leo, Li’s son. However, another child (albeit never qualified as such) looms in the background: the machine learning algorithm. [Read more…]
Article and Presentation
Annet Dekker @ MAP: Endnotes, Edinburgh Art Festival,
Saturday 13 August 2016
Endnotes is part of the MAP Footnoting the Archive project curated by guest editors Suzanne van der Lingen and Claire Walsh. Responding to the theme of endnotes, and coinciding with the completion of the MAP online archive, the editors invited contributors to examine ways of approaching archives as a creative, active platform rather than a static reserve of documented content. Each of the invited artists and researchers propose critical approaches to archiving, contemporary art and digital production. [Read more…]
Juan Martín Prada & Remedios Zafra
July – September 2016
Expected Research // Centre for the Study of Networked Image, LSBU
Considering art as a privileged practice for the critical examination of digital and visual culture, the purpose of this research proposal is to investigate in depth the emerging challenges and transformations of the photographic image as a symbolic agent and as a medium for the (self)representation of social identity as produced and distributed in the Internet. [Read more…]
Fully funded AHRC Collaborative PhD studentship at London South Bank University in partnership with Rhizome.
Performativity and Preservation in the Archive of Online Born-Digital Art
The Centre for the Study of the Networked Image, London South Bank University invites applications for an AHRC-funded Collaborative Doctoral Partnership with Rhizome, commencing in October 2016 for a period of up to three years (Full Time). [Read more…]
Garrett Lynch @ #performingself
Garrett Lynch uses the ‘virtual’ world of Second Life as a staging point for work dealing with identity, representation and place. Within the ‘virtual’ world the artist’s representation wears a sandwich board stating “I’m Garrett Lynch (IRL)”, a reference to the performance work Trouser – Word Piece (1972-1989) by Keith Arnatt. The boards statement is both an abbreviation of the artist’s national identity (Ireland) and an acronym for ‘real’ location (In Real Life), that which is outside of the ‘virtual’. [Read more…]
Katrina Sluis @ Animate Projects in partnership with QUAD
Friday 22 January 2015, Derbys (UK)
Animate Projects in partnership with QUAD are holding an informal seminar on critically engaged digital practice. Artists and curators will make brief provocations, referencing notable artworks, organisations and events, to set a context for a discussion addressing questions that may include:
How do we square embracing and utilising technological change and forms, with critical interrogation?
Does public strategy help or hinder, lead, follow or shape practice?
How does creative innovation and experiment blur distinctions across commercial and cultural practice? [Read more…]
Annet Dekker @ Digital Horizons, Virtual Selves: Rethinking Cultural Heritage in the Museum
Research Centre for Material Culture, Leiden (the Netherlands)
Thursday 20 January 2016
Organised by Karin de Wild and Liza Swaving
This presentation will focus on attempts that have been made to preserve online cultures: from large institutes that scrape content and invent new documentation methods, to ‘amateur’ examples that form their own ‘networks of care’, and finally by paying attention to the stories, myths and fictions that survive through analogue means and stick in human memory. [Read more…]
In this new essay, writer and researcher Andrew Dewdney responds to Daniel Rubinstein’s essay What is 21st Century Photography? published by The Photographers’ Gallery in July 2015.
Victoria Walsh (RCA), Andrew Dewdney and Ionna Zouli (LSBU) and Emilie Pringle (Tate)
AHRC RCA / Tate Collaboration
This collaborative and interdisciplinary research project between Tate, the Royal College of Art and London South Bank University (2013/14) was based upon the recognition that contemporary professional practice, policy-formation and understandings of cultural value remain resolutely analogue despite the profound changes in how knowledge and contemporary culture is being produced and experienced. [Read more…]
Garrett Lynch @ Photo Mediations
Photomediations Machine is a curated online space where the dynamic relations of mediation as performed in photography and other media can be encountered, experienced and engaged. [Read more…]
Annet Dekker, 10 December 2015, @ Alternative Film/Video Research Forum 2015, in Belgrade
Whilst video art is just being accepted in the commercial and museum art worlds, it is overtaken by the proliferation of web-based video that is increasingly delivered via all kinds of networks and based in databases. [Read more…]
Current Research by Annet Dekker (as part of a residence at CCS, Bard College, February-June 2015)
It could be argued that the transformation from analogue to digital archives and archiving has shifted from selecting single documents in favour of seeking relations between documents and stimulating audiences to actively participate in curating archival and museum collections. [Read more…]
with: Harm van den Dorpel, Aymeric Mansoux, Martine Neddam, Michael Murtaugh, Anne Roquigny, Robert Sakrowski, Katrina Sluis
Thursday 26 November 2015, 13:00 – 17:30
Gerrit Rietveld Academie, Gym, Amsterdam
During a one-day-open market with workshops, lectures and performances, How to Do Art With Networks shows how networks are art.
How to Do Art With Networks provides an opportunity to share experiences, to experiment with platforms, tools and media, to conspire and discuss questions of sustainability, growth and informality. The day is based around several existing net-art-works that act as catalysts to show different perspectives, scales, potentials and pitfalls. [Read more…]
Andrew Dewdney and Victoria Walsh @ PARSE Biennial Research Conference on TIME
4-6 November 2015, Gothenburg (Sweden)
How are artists, curators and theorists responding to the new conditions of hypermodernity and chrono-reflexivity within the spaces and time of the art museum? Marked by a distributed archival aesthetic, post-digital culture directly challenges the museum’s logic of collection, as well as exposing the flaws of the atemporal modernist aesthetic hang. [Read more…]
Current Research by Andrew Dewdney
I am working with a longstanding research collaborator, Professor Victoria Walsh, on rethinking the theoretical intersection between art, media and technology through the prism of the strategic and curatorial practices of museums and their response to the rise of network culture. [Read more…]
4 and 25 October @ The Photographers’ Gallery, London
Join us for our inaugural “Geekender”, a weekend of events and workshops devoted to digital culture on 24th and 25th October at The Photographers’ Gallery, London. Saturday night we will open late until 9pm, with a party to celebrate 25 years of Photoshop. Experience the delights of being hands-on with Photoshop version 1.0, a live “cut and paste” studio (SouthBank Collective) and a Photoshop Battle. Photoshop Layer Cake and RGB Drinks will be served from the Photoshop “Toolbar” whilst Adam Brown (Buncefield Records) will translate your favourite JPEG images into sound in a special DJ set. Visuals taking you through the history and culture of Photoshop will be provided by Central Saint Martins MA Photography Students.
PhD research by Nicolas Maleve (collaborative PhD with The Photographers’ Gallery)
Today, as we are confronted on a daily basis with millions of images on the Internet, grasping the visual world seems an overwhelming task. [Read more…]
PhD research by Ioanna Zouli (AHRC funded – CDA award)
Ioanna’s PhD research is part of a developing discussion on the contemporary museums’ relation to digital technology and network structures. The study employs Tate as the institution under focus and examines the dynamics of institutional practices as a response to contemporary technological developments. [Read more…]
PhD research by Gaia Tedone
Gaia’s current research project considers the shifting conditions of the photographic image within contemporary culture at large, exploring how digital technologies and social media are opening up new spaces for encountering and exhibiting visual material. [Read more…]
PhD research by Garrett Lynch
Currently Garrett’s research and practice focus is exploring the thesis that networks are a transformative factor in contemporary art practice. [Read more…]