“We believe that Tiqqun has mistaken its object. The real enigma of our age is not the Young-Girl, who, we submit, has been punished enough already for how commodity culture exploits her. It is, rather, her boyish critic. Forms of crypto- and not-so-crypto misogyny have proved startlingly persistent not just within the radical left but also in the bourgeois-left spheres of cultural production: the publishing world, the museum, and the humanities departments of liberal-arts universities. We propose that a particular type is responsible for perpetuating such bad behavior. Call him the Man-Child.”—
“A Facebook shadow profile is a file that Facebook keeps on you containing data it pulls up from looking at the information that a user’s friends voluntarily provide. You’re not supposed to see it, or even know it exists. This collection of information can include phone numbers, e-mail addresses, and other pertinent data about a user that they don’t necessarily put on their public profile. Even if you never gave Facebook your second email address or your home phone number, they may still have it on file, since anyone who uses the “Find My Friends” feature allows Facebook to scan their contacts. So if your friend has your contact info on her phone and uses that feature, Facebook can match your name to that information and add it to your file.”—What is a Facebook shadow profile (via new-aesthetic)
ARE WE LIVING IN AN AFTERMATH? The unspoken consensus seems to be that, in relation to the art of the previous decade, the early 2010s are a caesura—a waiting period at best, analogous to the early 1970s in relation to the ’60s, or the early ’90s in relation to the ’80s. Those older historical moments were not just lulls, however, but scenes of profound discursive and technological mutation. And likewise, over the past few years, a set of technical innovations have arisen that have reconfigured conditions for the production and distribution of art. Although this phenomenon was barely noticed as it began unfolding, the start of this decade marked a point at which hardware and software came together to produce a qualitatively different kind of image.
Such changes in technology and art are often only belatedly sensed, and they cut both ways. Today, for example, modernist forms and styles are everywhere recognizable in the minimal Zen of iPhone design. But in turn, certain technologies that first appeared on the market around 2007 only had visible effects on contemporary art a couple of years later. And these effects are not isolated but systemic. Indeed, when the first person uses a technology matters less than when the number of users crosses a certain threshold. 2011 was the year in which the iPhone dramatically expanded in reach and market, including within the art world, and the proliferation of the smartphone—and then the tablet—for the first time provided consumers with the ability to view high-resolution images online nearly anytime and anywhere.
What distinguishes this particular historical moment, then, is not the emergence of the Internet (despite much recent talk about artists responding to this broad condition), but the confluence of two more specific developments: the radically increasing accessibility of the network and the permeation of portable devices on which dramatically higher levels of visual information are at hand. And although critics are entirely right to invoke contemporary art’s “super-velocity,” in the terminology of David Joselit, we must also pinpoint the specificity of these technical innovations in order to distinguish our present condition from other historical moments, when new infrastructures were also deeply imbricated in both the tempo and the content of art.
Freicoin is a peer-to-peer (P2P) currency based on the accounting concept of a proof-of-work block chain used by Satoshi Nakamoto in the creation of Bitcoin.
Unlike Bitcoin, Freicoin has a demurrage fee that ensures its circulation and bearers of the currency pay this fee automatically. This demurrage fee was proposed by Silvio Gesell to eliminate the privileged position held by money compared with capital goods, which is the underlying cause of the boom/bust business cycle and the entrenchment of the financial elite, and has been tested several times with positive results.
In high school I had an internship at a local paper in Seattle. I worked as a photojournalist, but it was soft, you know, I was only 15 or something. I was paired with other students, one specifically, who was given the role of reporter. Our main objective was to document the WTO conference…
The Public Private will be the first New York exhibition of contemporary art to explore the impact of social media and new technologies on the relationship between the public and private realm. The artworks brought together in The Public Private—several presented for the first time in the United States—address these issues from psychological, legal, and economic perspectives and use strategies ranging from hacking to self-surveillance to reflect upon the profound changes in our understanding of identity, personal boundaries, and self-representation.
Works on view include Paolo Cirio and Alessandro Ludovico’s Face to Facebook, a multimedia installation of one million Facebook profiles, which were appropriated” by the artists, filtered using facial-recognition software, and then posted on a custom-made dating website sorted by facial expressions. Eva and Franco Mattes’ The Others is a video installation composed of 10,000 photos the Mattes have acquired through a software glitch that gives remote access to personal computer files. The core of the work is not just the presentation of these images, but the act of “stealing” and moving them from the private into the public realm.
“Facebook officials are now acknowledging that the social media giant has been able to create a running log of the web pages that each of its 800 million or so members has visited during the previous 90 days. Facebook also keeps close track of where millions more non-members of the social network go on the Web, after they visit a Facebook web page for any reason.”—Facebook finally admits to tracking non-users | Firstpost (via new-aesthetic)
Apple’s response was less detailed and less persuasive. To give you an idea of how complex the problem has become, it has discovered that its metals are supplied by 211 smelters, liberally distributed around the planet. Any of them could be using minerals seized by militias in Congo. But the fact that it has mapped its own supply chain is a good sign.
Two years ago Motorola launched a scheme – which looks credible – whose purpose is to buy conflict-free tantalum from eastern Congo. Projects of this kind, which start at the beginning of the long chain of suppliers, provide an income for local people, while guaranteeing that armed psychopaths have not profited from the sale of your phone. It’s hard to see why all the manufacturers can’t join it.
Other companies, hiding behind their trade associations, have done all they can to undermine these efforts. Two months ago a new provision of the US Dodd Frank Act, which obliges companies to discover whether the minerals they buy from Congo are funding armed groups, came into force. It should have happened before, but it was delayed for 16 months by corporate lobbyists. Thanks to their efforts, and after 17 years of ignoring the issue, companies will still be allowed to dodge their duty for another two years, by stating that they don’t know where the minerals come from.