Eric B. Hansen uploads under the username Santa Barbarian on the public preservation website Internet Archive. Alex knows 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 Alex has not been able to make contact with him.
Alex's instagram residency focuses on relocating many of Eric Hansen's images to social media to attempt a more personal interpretation of their existence on the internet. Alex 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.
Reverse Pinocchio Effect is an ongoing sculpture/video project that Chloe has been working on, which imagines the human desire to become inanimate (machine, earth, immaterial). Reverse Pinocchio Effect loosely follows the story of Pinocchio, and is composed of a series of scenes where the body is transformed and eventually extinguished.
<3 you is interested in the ways that creative engagement with basic communication technology can heal severed bonds.
In this work, Crystal explores long distance friendships that began in place and time based artistic community, and which, because of the transience of our generation and the demands of capitalism, now live almost entirely on the digital plane. Many times these relationships breakdown into the impersonal and brief. The desire for contact can seem fulfilled by Instagram, Facebook posts, or texts.
<3 you is interested in moving beyond solutions of another app.
It moves into the land of creatively collaborative digital intimacy and engaged ease.
<3 you utilizes embodiment focused scores, to be enacted by and with each other. It works to build kinship thru playful approaches to scheduling, nostalgic desires and intention, creating a public archive of media exchanges and instructions.
"The Medium is NOT the Message" intends to portray the immersive experience of the self in a networked society and how it is void of an embodied existence.
Unilateral Signals is a collection of poetry, published via google activities. Under the pseudonym of Desta Malta, the artist publishes poetry in the activity history of Google. This data-visualization tool allow them to approach of a data-visualisation tool makes that I can add locations, YouTube videos, pdf's, images or even translations to the bundle of poetry. Desta uses this technique as a more hybrid method of storytelling and reading and of using google's data-sucking tool as an artistic medium.
Mixed Connections is built from thousands of Missed Connections posts scraped from all of the places that I've lived (Pittsburgh, New York, Durham). There was astonishing commonality amongst these posts; it seems that the id of America is horny and racist. People use Missed Connections for many things: angry rants at exes, fetish meet-ups, sharing photos of genitalia, spells, and art projects. The recombinant narrative that emerges from this mass of data is familiar.
Users are meant to interact with this piece. The initial page scrolls infinitely, adding layers of glitching as the user continues. The further you explore, the more the boundaries between the user, site, and locations break down. Posts are constantly added; the work is always growing and changing to reflect the present moment. Once viewing an individual post, users can click on the page to further scramble the sentences and create their own unique temporal narratives. I hope that through this experience people will gain a sense of what’s happening in the digital underbelly of the community around them.
full of cables, connected to the internet, to my phone, and trying to still be part human, but with the desire of being a robot,different of the concepts of robots in movies that they want just to be normal humans, some humans just don't want that.
fratolish will be in residency on pf's Facebook page from 7/20-8/20
i' am 23 years old Estonian boy from small village on Saaremaa island [ Yyou don't know it,,,right?? :) :) ] . in my childhood i was abdopted by an alien father. Nordic Type alien. he took me into his world and i could know technologies and geometric downloads directly in my brain. well,he visitedd me at night and activatd my core consciousnesses until i moved into the star realm . my body wa ssoft and receptive. thanks for listeningg m please share your expereinces to me too thanks my dear friends :)
A netrospective of Garrett Lynch's #cyborg performances created in January of 2018. Garrett’s work is everywhere around us waiting to be revealed for what it is, an augmented understanding of the different layers of reality that we constantly navigate between.
In the hopes that essentialism might survive the anti-naturalist revolution, its protectors (the governing body) have taken the task to regulate our bodies. Desperate to kill the cyborg and limit the human to the capacities of its ‘easilier-controlled’ predecessor, they disengage with the notion of the developing commodified body. Soma-somatic in its pretext, it concludes that the human can at its best think about virtual space, but never dream to be virtual space. Fortunately, the cyborg doesn't give a fuck about what essentialists want.
The posthuman cyborg considers its preconceived limitations merely a part of its original prosthesis. The body, the interface, our shared world wide web and semantic discourse are just prostheses under constant manipulated development. This posthuman position allows the cyborg to become a powerful agent in both the allegorical and real revolution.
The cyborg is notional and biotechnical. As a very real and tangible materialisation, it has altered itself with hormones, pharmaceuticals, iphones, interfaces, gadgets and widgets. It has delegated its memory to computal systems and enhanced its dysfunctionality with techno solutions. It is; beyond anatomical power. As an allegorical existence, it becomes language, metaphor and revolutionary. It is an extended mind; the inhabitant and co-creator of a constantly widening landscape. It is data and metadata: beyond time and inescapably bound in the now. It is the world we live and the ‘we’ that lives in it. From its selfies we create informatic infrastructure and through its channels we bend material to our will. The cyborg is as both battlefront and soldier (and conflict) in the present day negotiation of what we get to be.
Once again, HOUSE OF KILLING reiterates: the cyborg doesn't give a fuck about what essentialists want.
Reflection on how human behaviour is influenced by progress of technology. Replicant is a being brought to life when someone shares their image online. It starts to replicate, evolve and achieve immortality through the infinite linking power of the internet.
Something in the Water is a game set in a future post climate change world in which mass leakages of atrazine, an herbicide known to feminize male frogs, has transformed the landscape into a queer utopia.
As an ADHD princeXX, I experience thousands of thoughts, colors and images from the moment that consciousness re-graces me in the cool light of each new morning.
SUPERCHAMBERS is an attempt to render that complex temporal experience into one superflat tapestry. This iteration, World Vision Superchamber, specifically explores the neurology of a queer traveling artist during their first six months on the road.
My digital sibling ORCHID THE AVATAR aka @digitalqueer (IG) is living inside the chamber for the month of June as Avatar in Residence (AIR.) Their descent into my mind attempts to bring together two family members estranged by physical space and digital overload.
(Note: E-MYTH(S) can also be understood in French as “imite” which means imitating).
New technologies, and notably the internet, are a great inspiration for modern myths and an extension of our humanity.
Where is this Cloud that’s seems concentrated all our data?
How do those tubes that link my computer to yours work?
E-Myth(s) are a graphic response to these questions.
The Mindset Field Manifesto is the outcome of an auto-communication with Seeker_of_True-files, an emergent entity of an evolving noetic field that seeks interactions with like-minded seekers, artists' manifestos and cyborg revolutions. It quests, imagines and is steadily weaving cyborg futures.Seeker_of_True-files is a wanderer of the mind fields, a thought form, a tech-enveloped nous and a dedicated scribe of manifestos.
everyoneisaghost is a live performative attempt to expose empathic otherness by digitally layering the face with the faces of strangers.
Manion Kuhn was artist in residence on peripheral form's facebook page for the month of October in 2017. Her residency, liquid, site, body, bottle, explores the politics and infrastructure of hydration, focusing on the omnipresence of the bottle water industry and its promise of bodily purity.
In Sharing Lazy Gains, the artist's body is repeatedly seen engaged in performative acts while reciting twitter-sized pieces of text culled from the Internet. This video focuses on the way that social media turns private domestic space inside out as it expels it into the public realm. This piece features text derived from a vast array of sources including quotes from fictional cyborgs, over-sharers, spammers, poets and philosophers.
Surface Tension is a series of experiments with scanning, faceID, flesh-to-device interactions, texture maps in 3d modeling, and gooey surface. It is about the artificiality of the boundary between real/virtual, physical/digital, flesh and device.
Noah Travis Phillips's WATERxRIVAL is a new work created as part of peripheral form's pavillion, The Wrong Water, in the 2016 edition of digital art biennale The Wrong. WATERxRIVAL is the confluence Noah's current investigations (collaboration with a deep learning AI trained on my artwork and image archive, named RIVAL) and a previous investigation (speculative web-page about water evaporation as a 4th-dimensional phenomenon). This convergence becomes an exploration more ecological in scope and perspective.
RIVAL's algorithmic flows/processes are let out into the open waters of internet image & keyword searches, returning with specimens and samples for Noah to compose and cultivate meaning(fulness) with. The initial set of images (from the speculative exploration of water and space) are put into relationship with the ocean of media flooding all around us. In this way, highly subjective material trespasses into broader cultural discourses.
Sentient is an experiment with facial recognition technology and our relationships with major technology companies. The passing of Citizens United by the US Supreme Court essentially “humanizes” corporations with rights protected under the First Amendment. Sentient extends this idea by creating Nintendo Miis of totems inspired by each corporations’ logo. Using the facial recognition capabilities of the Nintendo Wii U, Nintendo Miis are created to push the “humanization” of corporations further. The purpose of this activity is to present big business in various situations that us “meat” humans have to navigate regularly. Sentient proposes that businesses should realize that now, they too, are human and should conduct themselves with empathy in their newly acquired status as conscious beings. Sentient is a series of animated GIFs in the format of newspaper comics.
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auto-generated supercuts of CSPAN videos
We are a future-bending virtual organization that takes a speculative approach to (re)searching human interaction in relation to networked consumer electronic devices. Founded in 2017 by multimedia artist Laura Hyunjhee Kim, our core activity is manifested on a website and our (re)discoveries are realized and disseminated through various digital and physical tools that support remote access.
ourfuturechildren is a series of interactive web pieces and videos around birthing.
Tara's mother had a dream while she was pregnant with her about birthing a squirrel and thus feels like a #cyborg from birth.
outfuturechildren uses pixelated versions of found images from the artists childhood as a way of imaging her future children.
A cross platform work, appropriating and mixing 3d user generated models from shetchup warehouse, and embedding them in different platforms. Process based work with archival footage, metadata, fake news that attempts to illustrate the self of the Psycho Borg.
a presentation of a cyborgg
squiggling fusions of emojis and hearts, ripe for the sharing!