They study with keller easterling, casey reas, Lev Manovich, Metahaven Vinca Kruk and Daniel Van Der Velden, Liam Young, and many others. This is ill-advised and hopeless. The essay outlines the new normal post-graduate think-tank at Strelka, novelists, philosophers, artists, programmers, game designers, interaction designers, which brings together architects, economists, filmmakers, and 'free-range’ computer scientists.
In response, one impulse is to pull the emergency brake and to try put all the genies back in all the bottles. Better instead to invest in emergence, in contingency: to map the new normal for what it is, and to shape it toward what it should be. Part manifesto and part syllabus, this essay by design theorist, Benjamin H.
We are making new worlds faster than we can keep track of them, and the pace is unlikely to slow. Bratton is programme director of the strelka Institute of Architecture, Media and Design in Moscow, a resilient beacon of generous futurism in a time and place at the centre of contemporary twists and turns.
If our technologies have advanced beyond our ability to conceptualize their implications, such gaps can be perilous. Bratton describes his vision for how design should approach and intervene in the new normal and what kinds of cities we should be planning for now. What is the new normal? Something has shifted, it seems.
Even at a moment of digital ubiquity, inclusive mixing chamber for many social, Medium Design treats space as an information system and a broad, political, technical networks. Instead it only rehearses a habit of mind that has been eclipsed. On the flip side of these logics, Medium Design offers no dramatic manifestos where things are new or right.
Privileging declarations, right answers, proofs, and universals, culture is often banging away with the same blunt tools that are completely inadequate to address contemporary chemistries of power. And just as it inverts the typical focus on object over field, it may also invert some habitual approaches to problem solving, aesthetics and politics.
He challenges existing ideas and gives us new concepts for understanding media, design, and aesthetics in the AI era. It determines how many people will see our shared content. It helps us make aesthetic decisions when we create media. Ai plays a crucial role in the global cultural ecosystem. It recommends what we should see, listen to, read, and buy.
. In professional cultural production, product and web designs, architecture, music albums, AI has already been adapted to produce movie trailers, fashion items, etc. In this short book, lev manovich offers a systematic framework to help us think about cultural uses of AI today and in the future.
Dark matter and trojan horses. A strategic design vocabulary.
In this short book, dan hill outlines a new vocabulary of design, one that needs to be smuggled into the upper echelons of power. With conventional solutions failing, a new culture of decision-making is called for. It redefines how problems are approached and aims to deliver more resilient solutions. And that may mean redesigning the organization that hires you.
He asserts that, increasingly, effective design means engaging with the messy politics - the "dark matter"- taking place above the designer's head. Strategic design is about applying the principles of traditional design to "big picture" systemic challenges such as healthcare, education and the environment.
We live in an age of sticky problems, whether it's climate change or the decline of the welfare state.
The Stack: On Software and Sovereignty Software Studies
This model, informed by the logic of the multilayered structure of protocol “stacks, ” in which network technologies operate within a modular and vertical order, offers a comprehensive image of our emerging infrastructure and a platform for its ongoing reinvention. The stack is an interdisciplinary design brief for a new geopolitics that works with and for planetary-scale computation.
A comprehensive political and design theory of planetary-scale computation proposing that The Stack—an accidental megastructure—is both a technological apparatus and a model for a new geopolitical architecture. What has planetary-scale computation done to our geopolitical realities? It takes different forms at different scales—from energy and mineral sourcing and subterranean cloud infrastructure to urban software and massive universal addressing systems; from interfaces drawn by the augmentation of the hand and eye to users identified by self—quantification and the arrival of legions of sensors, algorithms, and robots.
Together, automation—can be seen not as so many species evolving on their own, mobile apps, the internet of Things, smart cities, how do these distort and deform modern political geographies and produce new territories in their own image?In The Stack, cloud platforms, Benjamin Bratton proposes that these different genres of computation—smart grids, but as forming a coherent whole: an accidental megastructure called The Stack that is both a computational apparatus and a new governing architecture.
Interweaving the continental, and perceptual scales, dwell within, urban, communicate with, it shows how we can better build, and govern our worlds. Thestack. Org. We are inside The Stack and it is inside of us.
The essay applies the 'slow' cinematic art of Andrei Tarkovsky to our interaction with the digital, visual reality of screens and interfaces. We are interested in calling it cinema. Instead, we want to investigate the kind of experience we have whilst staring at these tiny screens and the digital platforms that inhabit them.
. That is eight minutes longer than Andrei Tarkovsky's film Stalker. We're not interested in telling you put your phone down and start paying attention to the real world. Digital tarkovsky is an extended poetic exploration of how our experiences of visual entertainment and time itself are changing in the era of the smartphone and near-constant connection.
Digital tarkovsky is a way of tracing what cinema, storytelling and time mean in our platform-based world. In the us, an adult on average spends two hours and 51 minutes on their smartphone every day. We are interested in calling this something other than smartphone addiction.
The Epic Struggle of the Internet of Things
If the hype is to be believed then the next big thing is the Internet of Things. But is it what you think it is? Because the Internet of Things is not about things on the internet. The internet of things serves the interests of the technology giants, in their epic wrangles with each other. A world in which all our household gadgets can communicate with each other may sound vaguely useful, but it's not really for us consumers.
And it is they who will turn the jargon of "smart cities" and "smart homes" into a self-fulfilling prophesy. In this piercing and provocative essay, Bruce Sterling tells the story of an idea that just won't go away because there's too much money to be made and a whole world to control.
Dispute Plan to Prevent Future Luxury Constitution e-flux journal Series
Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture. The cast of characters in this ensemble drama of righteous desperation and tactical trickery shuttle between fact and speculation, epistolary ideologues, empty research campuses, branded revolts, forgotten footage, seditious masquerades, flesh and symbol, disputed borders-of-convenience, action and script, carnivorous installations, suburban enclaves, big-time proposals, death and philosophy: insect urbanists, vampire safe-houses, distant dissimulations, ambient security protocols, ad-hoc bunkers, sacred hijackings, imploding skyscrapers, sentimental memorials, and robotic surgery.
In this mosaic we glimpse a future city built with designed violence and the violence of design. As one ratifies the other, the exception becomes the ruler. Bratton's kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Equal parts borges, and black ops, burroughs, baudrillard, Dispute Plan to Prevent Future Luxury Constitution charts a treacherous landscape filled with paranoid master plans, failed schemes, and dubious histories.
Benjamin H. Both rely on all manner of doubles, threat, gimmicks, models, prototypes, ruses, and shock-and-awe campaigns to realize their propagandas of the deed, and image.
The Design of Scarcity
This essay asks us to throw out our simplistic Malthusian graphs and escape the stranglehold that scarcity has on our imaginations. The authors of this timely essay set out to establish a more sophisticated understanding of scarcity. The message for architects and designers - experts in working with constraints - is that scarcity is a process, and one that can be productive.
Already it pervades political discourse and shapes our reading of the economy and the environment. As growth was the defining condition of the 20th century, so scarcity is set to define the 21st. But scarcity is not just the inevitable result of growth and resource exploitation - every innovation results in new scarcities.
. Moving beyond the idea that lack and inequality are simply laws of nature, they argue that scarcity can be challenged. Scarcity is constructed daily through the creation of desire, it is designed.
Duty Free Art: Art in the Age of Planetary Civil War
They extend from a region where the audience is pumped for tweets to a future of “neurocurating, ” in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity. What is the function of art in the era of digital globalization?How can one think of art institutions in an age defined by planetary civil war, growing inequality, and proprietary digital technology? The boundaries of such institutions have grown fuzzy.
In duty free art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, she exposes the paradoxes within globalization, and political actions, WikiLeaks files, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, political economies, the proliferation of freeports, visual culture, and some of the world’s most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the status of art production.
New Dark Age: Technology and the End of the Future
Meanwhile, those in power use our lack of understanding to further their own interests. In reality, simplistic narratives, increasingly divided by fundamentalism, conspiracy theories, we are lost in a sea of information, and post-factual politics. From rogue financial systems to shopping algorithms, from artificial intelligence to state secrecy, we no longer understand how our world is governed or presented to us.
Underlying this trend is a single idea: the belief that our existence is understandable through computation, and more data is enough to help us build a better world. The media is filled with unverifiable speculation, much of it generated by anonymous software, while companies dominate their employees through surveillance and the threat of automation.
New dark age is among the most unsettling and illuminating books I’ve read about the Internet, which is to say that it is among the most unsettling and illuminating books I’ve read about contemporary life. New yorkeras the world around us increases in technological complexity, our understanding of it diminishes.
In his brilliant new work, technology, and information systems, leading artist and writer James Bridle surveys the history of art, and reveals the dark clouds that gather over our dreams of the digital sublime. Despite the apparent accessibility of information, we’re living in a new Dark Age.