Please don’t stand in the middle of the road waiting for me to get you on camera
(link to online exhibition)

My older sound work If But Or will be part of an installation at this year’s ArteScienza Festival in Rome. Under the theme Interattivo-Adattivo (Interactive-Adaptive), the installation includes “eight reflective screens distributed in the Goethe-Institut lower garden, allowing the sound sources placed at their bases to widen the lobes of sound radiation and offer the listener an extended, non-localizable scenario, within which are however perceptible the trajectories or movements of the sound modulated in depth and width.” (translation via Google)

Interestingly, If But Or was the first work I made using my new (at that time) synthesis software called GACSS (Genetic Algorithms in Composition and Sound Synthesis). If you’re in Rome, here is info for the concert on 5 July. Otherwise, you can hear If But Or by clicking below:

Please don’t stand in the middle of the road waiting for me to get you on camera
(link to online exhibition)

My work ORDER OF MAGNITUDE is part of an online exhibition titled Please don’t stand in the middle of the road waiting for me to get you on camera (exhibition info, enter exhibition). From curator Bob Bicknell-Knight:

The works presented consider how human beings are increasingly reliant on digital technologies, from navigating through offline environments utilising Google Maps to having a job as a micro-tasker, working for an online service where users pay to have a pretend girlfriend or boyfriend text them. The crafting of digital, online identities, to be monetised and utilised when traversing offline space has become increasingly prevalent due to the rise of social media sites, allowing everybody to be anybody in a world of hypercapitalism. The exhibition takes its name from a Reddit AMA (Ask Me Anything) with a Google Maps Driver. Throughout the thread the driver details their exploits, from sticking to the speed limit to being harassed at rest stops.

The show is up through 23 July, and includes works by Aram Bartholl, Petra Cortright, Joe Hamilton, and Pilvi Takala.

AI: More Than Human opens at The Barbican Centre in London on 16 May 2019
(photo by Tom Morris)

I’m happy to share that my work Computers Watching Movies will be part of the exhibition AI: More Than Human at the Barbican Centre in London. According to the Barbican, “AI: More than Human is an unprecedented survey of the creative and scientific developments in artificial intelligence, exploring the evolution of the relationship between humans and technology.” The show is divided into four sections: The Dream of AI, Mind Machines, Data Worlds, and Endless Evolution. My work is part of the Mind Machines section. The exhibition is curated by Dr. Suzanne Livingston and Maholo Uchida and runs from 16 May to 26 August, 2019. The show will travel after its run at the Barbican, with its next stop at the Groninger Forum in The Netherlands.

ORDER OF MAGNITUDE is a supercut drawn from video of Mark Zuckerberg from 2004-2018

I’ve just launched my latest work, titled ORDER OF MAGNITUDE, a nearly fifty minute supercut that draws from video recorded appearances of Mark Zuckerberg from 2004-2018. Using these videos as source material, the work examines what the tech CEO cares about, how he thinks, and what he hopes to attain.

The work premieres as part of arebyte on screen (AOS), “a platform dedicated to artist videos, multimedia experiences and curatorial interventions utilizing digital formats to address current political, economic and theoretical discussion, viewable 24/7 both online and via a screen in the gallery…” This edition of AOS is curated by David Quiles Guilló.

Self as Actor: Colonising Identity at NeMe Arts Center in Cyprus

My works Safebook and Go Rando will be part of the exhibition Self as Actor: Colonising Identity opening this Friday at the NeMe Arts Center in Cyprus. The exhibition, which is curated by Helene Black and Aysu Arsoy examines:

Digitality is no longer separated from our every day lives but has become an integrated experience, a depiction of our complex and hierarchical social reality. Although, by now, many users have become aware of the large degree big data involves the vigorous use of what many identify as biased and racist algorithms for analytics as well as software for surveillance, it has not curbed the mass use of social media. In fact, mass networking on social media has become the cultural tool for establishing a sense of intimacy despite the unease of personal disclosure. Real issues such as human rights abuses, homelessness or climate change cannot contest viral videos, fake news, cute pets and more recently, the controversial obsession with ‘dark tourism’ selfies. Algorithms are meant to inform us but the trend since Web 2.0 (1999 onwards), has shifted towards collecting information on users for selective advertisements and political manipulation. Online social activities are tracked and monitored abusing our right of privacy. Targeted personalisation on the Internet today purges reality with users becoming dehumanised commodities existing in a fabricated unreality. The control of the coloniser is now defined by the monopoly of the data colonised.

Read more about it at the NeMe Arts Center.

Harlesden High Street in London

My work Computers Watching Movies (American Beauty) will be part of an upcoming event at Harlesden High Street in London. This event is titled New Materialities in the Digital Age, and features a presentation and screening program by curator Doreen A. Ríos. The event is from 19:00-22:00 on 22 October, and is part of an opening for an exhibition that runs through 22 November.

ScareMail at Inside Intel as part of the Logan Symposium at Goldsmiths, University of London

ScareMail will be part of Inside Intel, an exhibition opening on 16 October as part of the Logan Symposium in London. Under the full title of Inside Intel: You Won’t Believe It™, the exhibition:

…presents a speculative “Silicon Valley Imagineering Laboratory,” a 21st century office interior thick with counter-narratives and factual misinformation. Exploring the landscape of contemporary media and technology, Inside Intel investigates their influence on conspiratorial thinking. Artistic methodologies presented in the show range from the architectural modeling of war crimes to speculative design, via browser-extensions and Twitter-bots, taking in both the satirical and the deeply unsettling. Whilst some artworks peddle faux state propaganda and sinister new technologies, others take the form of genuine investigations and purposefully staged analysis. The result is an environment where fact, fiction, and the theoretically possible seamlessly blur into one another. Mirroring the difficulties we all face when navigating the fog of electronic propaganda that pervades our new media ecosystems, Inside Intel demands an investigative eye to separate the signal from the noise.

Inside Intel is curated by Elliott Burns, Jake Charles Rees and India Murphy, and was commissioned in response to and to accompany the Centre for Investigative Journalism’s 2018 Logan Symposium: Conspiracy. It will be held at St James Hatcham, Goldsmiths, University of London, and is up from 16-20 October, 2018.