IOCOSE’s A Crowded Apocalypse uses crowdsourcing as a means of generating and developing tactics against conspiracy theories. The Italian artists’ group:
has commissioned a series of micro tasks, each of them being almost completely meaningless. However, when put together, the tasks collectively contributed to generate a series of potential paranoias. The results have been commissioned, collected, organised and exhibited by the artist group, showing the result of a process of mechanical and unemotional involvement of the participants in the process of writing and protesting against conspiratory narratives.
One of the works in this series of “micro tasks” or works is How to make a Bomb (view here on YouTube), a step-by-step guide on how to assemble a bomb. The guide is a playlist on YouTube, each step of the guide one of 28 videos hosted on different accounts. Viewed separately the content of each video is harmless or meaningless. Viewed together as the full playlist the videos give a set of lethal instructions that without a doubt would be in breach of YouTube policy (and almost any other online provider) yet as a distributed guide prove difficult to censor and delete.
Beautifully simple work thinking about current browser technologies. If net.art still exists it should be something like this…
A microphone input determines the rate of playback for a sequential set of images. Here, the Wolfe Island Windmills react to the noise of a fan and speed up accordingly. This demonstration was made in Chrome 31 using HTML5 canvas and the getUserMedia() API.
Some new work I’ve been finishing and polishing for quite some time is finally complete. The Distinction Between Here and There, Now and Then is a work about performance that occurred through the internet in two stages and which is presented/documented as a diptych with series of framed artefacts. For a full description and more images see the work’s page on my site.
The work relates back to some of the posts I’ve made here over the last few weeks; works that employ Chinese painters as part of the process of creating the work (e.g. The Most Infamous Girl in the History of the Internet / Attractive Student / Parked Domain Girl, Copyrights, Tiananmen Square Paintings (20 years later)). I’m looking for more works that do this so if you know of any send me an email through the contact page on the site.
Net Art Implant by Anthony Antonellis is a site-specific curatorial project which employs a NFC (Near Field Communication) chip implanted in the artists hand as a wireless space to store/exhibit work up to 1 Kilobyte in size. Currently the chip stores an animated gif by the artist however the intention is to source the space out to other artists.
As a form of micro-curation, the artwork will be rotated out to exhibit new artists and artworks on a regular basis. Future artworks may come in various file formats such as GIFs, JPGs, MIDI music, or ASCII art. An Android app in development allows for direct download of the GIF from the chip, displays extended information about the artwork, and contains an archive of previously exhibited works.
Tiananmen Square Paintings (20 years later) by Michael Mandiberg is a series of internet commissioned paintings from Chinese painters.
Four years ago, in preparation for a research visit to Shenzhen’s Dafen Painting Village, I requested that roughly a dozen Chinese painters paint a copy of the image of the man standing in front of the tanks during the Tiananmen Square protest on June 4, 1989. I did this partly out an interest in copies and reproductions and partly just to see if I could do it: the image is famous worldwide, but I have since learned it is virtually unknown under Chinese national censorship.
To read more see the artists website.
Originally seen on Networked Performance.