When matter and antimatter come into contact, they annihilate – disappearing in a flash of energy... more When matter and antimatter come into contact, they annihilate – disappearing in a flash of energy, leaving traces, producing new artefacts and ideas. Annihilation Event invites a contrary group of artists, archivists, archaeologists, historians, technical experts and theorists from all over Europe to bring their objects, machines, speculative processes and performances into constellation. Annihilation Event will take place in the Lethaby Gallery at CSM in March 2017. In the lead up to this students and graduates from MA and BA Fine Art at CSM and ENSAV La Cambre, Brussels have been working in research groups on a prototype event. For one day at Tate we will run public workshops and demonstrate processes including casting, photogrammetry, reflectance transformation imaging and virtual reality applications. The Department of Subjective Archaeology will install its offices and participative laboratory. Make your own object to scan or see some curiosities from UAL archives and special c...
ABSTRACT John Maynard Keynes’s phrase Low Animal Spirits describes a paradox found in human natur... more ABSTRACT John Maynard Keynes’s phrase Low Animal Spirits describes a paradox found in human nature that locates a herd-like mentality, as well as unpredictability and uncertainty, at the core of international finance: a model of mass behavioural procedures. Low Animal Spirits was a work made in collaboration with Richard Cochrane that took its cue from the oft-mentioned loss of the referent in both language and the economy that was speculated about wildly after the economic collapse of 2007/08. It employs a high-frequency trading (HFT) algorithm written by Cochrane (a former Vice President of Goldman Sachs), and ‘deals’ in words sourced from global news feeds for virtual ‘profit’, whilst speculating on their usage. The analysis produces new phenomena in the form of speculative headlines tweeted from the twitterbot @LowAnimalSpirit. As various social productions, including news, are increasingly enmeshed within algorithmic procedures, through their production, distribution and reception, it seemed an apt moment to apply an extreme version of algorithmic operation in the form of HFT to global news production. The Associated Press twitter hack of 2013 that brought about a 1% drop in the financial market in 1 minute was displayed during the exhibition as a polished metal graphic: Breaking News – Flash Crash, and generated further investigation into high-speed algorithmic procedures that seemingly conjoin language and the economy. The work developed through procedural experimentation and the following writing traces some of the ideas that came before, after and through the work, often in conversation with others. It is best thought of in terms of a report: a taking stock.
Sharon Kivland’s vinyl LP To Dream by the Book was played throughout the exhibition on a vintage ... more Sharon Kivland’s vinyl LP To Dream by the Book was played throughout the exhibition on a vintage Marconiphone. A hundred readers recorded the stuff of dreams – those with a spatial quality (though perhaps this is true of the structure of all dreams) – from Sigmund Freud’s The Interpretation of Dreams. Freud points out, comparing dream-content (what is represented) with dream-thought (which instigates the dream, turning the text of the unconscious into a play), that content and its account is ‘brief, meagre, and laconic’ in relation to the complexity and richness of the dream-thought. The dramatisation of the dream is reported, a second edition of an earlier text, but the dream is something new, in which an old wish makes its return. On Saturday 20 May at 19 h Kivland gave a short introduction to the material of Freud’s dream book, followed by the playing of and attentive listening (Michel Foucault called Freud the most famous ear of our epoch) to the LP, which, most excitingly, was ...
Gustavo Grandal Montero (ALJ):Could you give an overview of the main aims and context of the proj... more Gustavo Grandal Montero (ALJ):Could you give an overview of the main aims and context of the project?Ami Clarke (AC): The Digital Archive of Artists’ Publishing (DAAP) is an interactive, user-driven, searchable database of artists’ books and publications, that acts as a hub to engage with others, built by artists, publishers and a community of creative practitioners in contemporary artists’ publishing, developed via an ethically-driven design process, and supported by Wikimedia UK and Arts Council England. The project is inspired by the site of Banner Repeater's public Archive of Artists’ Publishing on Hackney Downs train station, with 11,000 people passing a day, in response to the need for a similarly dynamic approach to archiving in an online context.
Artist Ami Clarke traces some of the complexities, multi-temporalities and scales, that coalesce ... more Artist Ami Clarke traces some of the complexities, multi-temporalities and scales, that coalesce around some new, and some very old power relations, that come of, and are revealed by, the technologies associated with the interdependent ecologies of social media, finance, and the environment. Her work traces hyper-speculation that came of the semiotic boom, where the loss of the referent in both language and the economy is shared across the trending behaviour of neoliberal/free market dynamics in finance, as well as emerging media ecologies. Here, inconsistencies in claims of 'fake news' amidst rights to 'freedom of expression' converge in the shortcomings of colonial practices of extraction, and new hyper-networked digital colonialisms, as the futures markets meets behavioural futures across the interdependencies of a reputation economy that comes of online news and social media, and the forms of finance driven by this. Preempting many of the conditions brought into sharp focus by the pandemic, she touches upon how the insurance industry reveals the catastrophic flaw of investing in the neoliberal myth of the market, as 'unprecedented' events become increasingly everyday. A state of contingency, that no longer promises an opportunity to 'write the future', but instead, is felt through the mechanisms of disaster capitalism as churning markets across both the financial sector, and the mediasphere, as a means by which to game not only who has the authority to speak, but democracy itself. 1 Media Reform Coalition: New Report, Who Owns the UK Media in 2019. The Media Reform Coalition produced its first comprehensive report on media ownership in the UK back in 2015 when it argued concentrated ownership was a significant problem for any modern democracy. Four years later, it has produced an updated version that suggests that, not only does concentrated ownership persist but that the problem may be getting worse.
When matter and antimatter come into contact, they annihilate – disappearing in a flash of energy... more When matter and antimatter come into contact, they annihilate – disappearing in a flash of energy, leaving traces, producing new artefacts and ideas. Annihilation Event invites a contrary group of artists, archivists, archaeologists, historians, technical experts and theorists from all over Europe to bring their objects, machines, speculative processes and performances into constellation. Annihilation Event will take place in the Lethaby Gallery at CSM in March 2017. In the lead up to this students and graduates from MA and BA Fine Art at CSM and ENSAV La Cambre, Brussels have been working in research groups on a prototype event. For one day at Tate we will run public workshops and demonstrate processes including casting, photogrammetry, reflectance transformation imaging and virtual reality applications. The Department of Subjective Archaeology will install its offices and participative laboratory. Make your own object to scan or see some curiosities from UAL archives and special c...
ABSTRACT John Maynard Keynes’s phrase Low Animal Spirits describes a paradox found in human natur... more ABSTRACT John Maynard Keynes’s phrase Low Animal Spirits describes a paradox found in human nature that locates a herd-like mentality, as well as unpredictability and uncertainty, at the core of international finance: a model of mass behavioural procedures. Low Animal Spirits was a work made in collaboration with Richard Cochrane that took its cue from the oft-mentioned loss of the referent in both language and the economy that was speculated about wildly after the economic collapse of 2007/08. It employs a high-frequency trading (HFT) algorithm written by Cochrane (a former Vice President of Goldman Sachs), and ‘deals’ in words sourced from global news feeds for virtual ‘profit’, whilst speculating on their usage. The analysis produces new phenomena in the form of speculative headlines tweeted from the twitterbot @LowAnimalSpirit. As various social productions, including news, are increasingly enmeshed within algorithmic procedures, through their production, distribution and reception, it seemed an apt moment to apply an extreme version of algorithmic operation in the form of HFT to global news production. The Associated Press twitter hack of 2013 that brought about a 1% drop in the financial market in 1 minute was displayed during the exhibition as a polished metal graphic: Breaking News – Flash Crash, and generated further investigation into high-speed algorithmic procedures that seemingly conjoin language and the economy. The work developed through procedural experimentation and the following writing traces some of the ideas that came before, after and through the work, often in conversation with others. It is best thought of in terms of a report: a taking stock.
Sharon Kivland’s vinyl LP To Dream by the Book was played throughout the exhibition on a vintage ... more Sharon Kivland’s vinyl LP To Dream by the Book was played throughout the exhibition on a vintage Marconiphone. A hundred readers recorded the stuff of dreams – those with a spatial quality (though perhaps this is true of the structure of all dreams) – from Sigmund Freud’s The Interpretation of Dreams. Freud points out, comparing dream-content (what is represented) with dream-thought (which instigates the dream, turning the text of the unconscious into a play), that content and its account is ‘brief, meagre, and laconic’ in relation to the complexity and richness of the dream-thought. The dramatisation of the dream is reported, a second edition of an earlier text, but the dream is something new, in which an old wish makes its return. On Saturday 20 May at 19 h Kivland gave a short introduction to the material of Freud’s dream book, followed by the playing of and attentive listening (Michel Foucault called Freud the most famous ear of our epoch) to the LP, which, most excitingly, was ...
Gustavo Grandal Montero (ALJ):Could you give an overview of the main aims and context of the proj... more Gustavo Grandal Montero (ALJ):Could you give an overview of the main aims and context of the project?Ami Clarke (AC): The Digital Archive of Artists’ Publishing (DAAP) is an interactive, user-driven, searchable database of artists’ books and publications, that acts as a hub to engage with others, built by artists, publishers and a community of creative practitioners in contemporary artists’ publishing, developed via an ethically-driven design process, and supported by Wikimedia UK and Arts Council England. The project is inspired by the site of Banner Repeater's public Archive of Artists’ Publishing on Hackney Downs train station, with 11,000 people passing a day, in response to the need for a similarly dynamic approach to archiving in an online context.
Artist Ami Clarke traces some of the complexities, multi-temporalities and scales, that coalesce ... more Artist Ami Clarke traces some of the complexities, multi-temporalities and scales, that coalesce around some new, and some very old power relations, that come of, and are revealed by, the technologies associated with the interdependent ecologies of social media, finance, and the environment. Her work traces hyper-speculation that came of the semiotic boom, where the loss of the referent in both language and the economy is shared across the trending behaviour of neoliberal/free market dynamics in finance, as well as emerging media ecologies. Here, inconsistencies in claims of 'fake news' amidst rights to 'freedom of expression' converge in the shortcomings of colonial practices of extraction, and new hyper-networked digital colonialisms, as the futures markets meets behavioural futures across the interdependencies of a reputation economy that comes of online news and social media, and the forms of finance driven by this. Preempting many of the conditions brought into sharp focus by the pandemic, she touches upon how the insurance industry reveals the catastrophic flaw of investing in the neoliberal myth of the market, as 'unprecedented' events become increasingly everyday. A state of contingency, that no longer promises an opportunity to 'write the future', but instead, is felt through the mechanisms of disaster capitalism as churning markets across both the financial sector, and the mediasphere, as a means by which to game not only who has the authority to speak, but democracy itself. 1 Media Reform Coalition: New Report, Who Owns the UK Media in 2019. The Media Reform Coalition produced its first comprehensive report on media ownership in the UK back in 2015 when it argued concentrated ownership was a significant problem for any modern democracy. Four years later, it has produced an updated version that suggests that, not only does concentrated ownership persist but that the problem may be getting worse.
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