<html>
<head>
<meta http-equiv="Content-Type" content="text/html; charset=utf-8">
</head>
<body style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class="">
<div class="">Alex,</div>
<div class=""><br class="">
</div>
<div class="">
<blockquote type="cite" class="">
<div dir="ltr" class="">
<div dir="ltr" class="">
<div dir="ltr" class="">
<div class="gmail_default"><font face="arial, sans-serif" class=""><span lang="EN-US" class=""> My argument is that the void of the surveillance, i.e., the subjective articulation, is always already included in the mechanism and preserves the locus of resistance.
I want to know what you think. </span></font></div>
</div>
</div>
</div>
</blockquote>
</div>
<div class=""><br class="">
</div>
<div class="">Yes, the phamakalogical “nature” of both techne and physis (world as pharmakon) (assuming for a moment that physis techne ‘like’ life death are distinct spaced out; if not… ) insures their unmasterability, so yes I agree that algorithmic governance
suffers constitutional, cosmic glitches. The question for me is why/if that glitch is subjective—or rather how does something like a subject ‘ride’ that glitch into a plane of consistency or collaboration that makes a difference that makes a difference (Bateson’s
definition of idea/info carried into action)?</div>
<div class=""><br class="">
</div>
<div class="">A similar question can be posed regarding the state: the US govt just suffered an attack on one of its primary bunkers, the US Capitol, demonstrating the limits if not the error of CAE’s “the streets are dead” manifesto long ago while opening
up America’s governing components to examination, critique, reform and possible mutation—how to follow and widen potentials here?</div>
<div class=""><br class="">
</div>
<div class="">Stiegler connects this pharmacological condition (at least in relation to techne) to intergenerational care and the destruction of attention/critical thought by generational marketing coupled to devices (in one of his last seminars, he was working
with Paris youth).</div>
<div class=""><br class="">
</div>
<div class="">How are Chinese youth engaging with COVID and other crises of care through media? Are there Gens X,Y, Z, etck, and how are their lifeworlds shaped algorithmically? </div>
<div class=""><br class="">
</div>
<div class="">This connects with an errant post I sent to the list yesterday in response to question by Amanda. </div>
<div class=""><br class="">
</div>
<div class="">The questions all loop back to this: howwhat to make of algorithmic glitches (such as <a href="https://en.wikipedia.org/wiki/Muhammad_ibn_Musa_al-Khwarizmi" class="">al Khwarizmi</a> himself) at different scales across different sites and times?</div>
<div class=""><br class="">
</div>
<div class="">
<div class="" style="font-family: TimesNewRomanPSMT;">Amanda,</div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">
<blockquote type="cite" class="">
<div dir="ltr" class="">
<div class="">Letting kids rule ASAP is a noble objective, Jon: but which kids, we might ask?</div>
</div>
</blockquote>
<br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">Good question. Answer: all kids! They’ll rule one way or another but COVID and preexisting global crises of care offer pharmakological S/CARE Package of cosmic potential, imho: a giant pharmakon Event. Anecdotally,
semi-officially, reluctantly, and urgently, folks glocally sense “something big is up” — something for which Seattle, 9/11, Arab Spring, Occupy Wall Street, Chernobyl, Ruby Ridge, BLM, etc were all prototypes or rehearsals, something's up that’s systemic and
historical, transformational and destructive, something massive that’s already affected all psyche, indeed, all breath (psyche). </div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">From art to design: I hold a BFA in painting, MA in English and media studies, and PhD in Perf Studies: I’ve made theory and art for decades: over the last 10 years, I’ve come to reframe my work as design
rather than art or critical theory: art and theory, cultural production and conceptual analysis still unfold but within a wider, post-disciplinary field Lyotard described as performative language games ruled not by true/false tables but input/output matrices.
As satellite TV taught us with moonlandings and 9/11, global experience design is a thing. The Anthropocene is slow-mo experience design by human agents: is another possible at scale and fast? </div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">StudioLab is not making art with or for our partners, nor are we representing them or theoretically critiquing them or even their situation. We trust that our partners know their situations while offering
them media and models to reframe them in productive ways. Eg, in Golan, we are working w Al Marsad to craft a int’l media campaign “simply” to tell the story of occupied Syrians (not Palestinians. Syrians): together we think outside a box surrounded by 2 million
land mines. Right now, it’s a storyboard graphic narrative about Emir, a boy killed by a mine but whose spirit will guide the strategic storytelling: it took months to craft the storyboard but it contains the seed of many other stories across many platforms
for many stakeholders to address a series of structural challenges. This week, partners introduced themselves to a new set of students who will learn to dream and iterate and actualize with them, the essence of design thinking. It will take years. </div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">The Her Whole Truth team became part of a wider coalition when Lisa’s execution date was set: Trump reframed the entire project in a single moment. Their transmedia storytelling, the grappling with tragedy
in words and images and interactions, suddenly went national, aided by lawyers, PR, and advocates who could write, place, and/or provoke stories in the Times, Newsweek, Vice News, and the conservative National Review. Protests and critique and direct action
were not options, as they were making an ask of Trump and his intimate circle. It failed but that was the game design. Everyone was devastated and are now recouping. </div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">StudioLab teams don’t study users or perform and present for audiences: we co-design, co-create, collaborate with stakeholders who have a stake in the process, <span class="">who are thrilled we’re spending
time helping them,</span> who will be upset if we don’t show up, etc. The experiential architecture of trust and care forms the sociotechnical performance of our desiring-machines, the langue of our parole. We do fuck up but fail fast iteration works. We prototype
ideas across media forms, situating ideation within DT’s media cascade. Alternatively, we break frame, know that they live there, we live dispersed in Ithaca, Jersey, CA, Singapore—wherever students Zoom in from. Using a theater model: we are all Brechtian
performers whose roleplaying as designers (few have any design background, some have media powers, all are passionate) is helping to invent rapid response design justice in real-time digital space. The class is recorded and available on <a href="https://cornell.box.com/s/jz8ck4djcagemiqa4v6ecjbsexwf2feo" class="">Box
here</a>. Documentation of past classes <a href="https://blogs.cornell.edu/designmediacommunity/" class="">here</a> and <a href="https://blogs.cornell.edu/designthinkingcommunity/" class="">here</a>. </div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">A monstrous side project is relevant to this list with its wide network of media artists and activist. Along with Ricardo, <a href="https://generation-thunberg.org/projet/objectifs" class="">Generation Thunberg</a>,
and colleagues from around the world, we are beginning development work toward a 7-year RPG called:</div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">TOYWORLD: Professional Amateur Development Hour for Kids of All Ages</div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">The idea is to support youth activists from the ground up glocally, foregrounding power-knowledge games and rules, playing with roles and structures to access the play “at work” in all beings, animate and
inanimate, all structures, intimate and extimate, providing intergenerational care by any media necessary. Workshops, resource sharing, learning to work at scale… whatever emerges as important and fun.</div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">Frankensteinesque, TOYWORLD is composed of TOYWAR, Institute for the Future, Bolo Bolo and Hardt & Negri’s Empire, SCTV, the Communist Manifesto, Taylorism, Nollywood and Pentacostal Evangelicals, Ben &
Jerry’s, and Minnie Moore. Here is a <a href="https://vimeo.com/501496144" class="">surreal ckonsult on TOYWORLD</a> and DC events by Ricardo Dominguez and I. StudioLab is working with NYS 4H on its summer Career Expo: think Girl Squads, Micky Marx Clubs,
Geek Squads, Science Rappers, DJs on A Thousand Platforms, etc. </div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
<div class="" style="font-family: TimesNewRomanPSMT;">Year 1 is R&D.</div>
<div class="" style="font-family: TimesNewRomanPSMT;">
<div class=""><br class="">
</div>
<div class="">Jon<br class="">
<br class="">
<div class="">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div dir="auto" class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
Jon McKenzie<br class="">
Director, StudioLab</div>
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
Professor of Practice, Department of English</div>
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
Kaplan Family Distinguished Faculty Fellow</div>
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
Faculty Affiliate, Bronfenbrenner Center for Translational Research</div>
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
Cornell University, 104 Klarman Hall, Ithaca, NY 14853 </div>
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<a href="mailto:jvm62@cornell.edu" class="">jvm62@cornell.edu</a> • <a href="http://labster8.net/" class="">labster8.net</a> • <a href="http://teachbetter.co/blog/2017/01/23/tbp-episode-46/" class="">podcast</a> • <a href="https://vimeo.com/220262141/d22b8a22c7" class="">PechaKucha</a> • <a href="https://www.youtube.com/watch?v=YmYgTy2VkBU" class="">TEDx</a> • <a href="https://cornell.zoom.us/j/95554666699?pwd=RTBTbFlvV3NMMWFxbkZVUnZQM3BvUT09" class="">TOYWORLD
Zoom</a></div>
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<a href="https://www.dropbox.com/s/q6vyrbtxflp6n6e/2019_Book_TransmediaKnowledgeForLiberalA.pdf?dl=0" class=""><i class="">Transmedia Knowledge for Liberal Arts and Community Engagement: A StudioLab Manifesto</i></a></div>
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<br class="">
</div>
<div class="" style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;">
<i class="">Data must be visualized, those visualizations wrapped in stories, and those stories shared with the right people at the right time <a href="https://vimeo.com/435546100" class="">by any media necessary</a>.</i></div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<div class="" style="font-family: TimesNewRomanPSMT;"><br class="">
</div>
</div>
<br class="">
<div><br class="">
<blockquote type="cite" class="">
<div class="">On Feb 16, 2021, at 2:58 AM, Alex Taek-Gwang Lee <<a href="mailto:tglee@khu.ac.kr" class="">tglee@khu.ac.kr</a>> wrote:</div>
<br class="Apple-interchange-newline">
<div class="">----------empyre- soft-skinned space----------------------
<div dir="ltr" class="">
<div dir="ltr" class="">
<div dir="ltr" class="">
<div class="gmail_default"><font face="arial, sans-serif" class="">Dear all,</font></div>
<div class="gmail_default"><font face="arial, sans-serif" class=""><br class="">
</font></div>
<div class="gmail_default"><font face="arial, sans-serif" class="">Many thanks for Renate's kind introduction and invitation. I have enjoyed the previous discussions and been excited by those ideas of algorithms and other things. These days, I am working on
the effect of mechanical surveillance and its impact on us. I want to share my ideas of "mechanical algorithms" with you. </font></div>
<div class="gmail_default"><span style="font-family: arial, sans-serif; text-indent: 36pt;" class=""><br class="">
</span></div>
<div class="gmail_default"><span style="font-family: arial, sans-serif; text-indent: 36pt;" class="">The COVID-19 pandemic does not mean the crisis of capitalism but instead compounds the existing problems within the capitalist mode of production. The precarious
status of the essential workers, regardless of their living condition, has been worse off. In contrast, unrestricted capitalist accumulation in valorizing the market above everything else has been more efficient and has exacerbated social inequality. These
contradictory consequences of the pandemic situation prove that the nature of capitalism does not need workers for its completion. The pandemic serves as not so much the end of capitalism but as another moment to sustain its paradox. Indeed, what is being
observed at the moment is the more traumatic experiences of capitalist restructuring. It means the modification of work as such by the introduction of technology to the workplace. </span></div>
<div class="gmail_default"><font face="arial, sans-serif" style="text-indent: 36pt;" class=""><span lang="EN-US" class=""><br class="">
</span></font></div>
<div class="gmail_default"><font face="arial, sans-serif" style="text-indent: 36pt;" class=""><span lang="EN-US" class="">This transformation dramatically evolves to the idea of mechanical management based on surveillance technology in this pandemic. In other
words, the mechanization of work, the perversion of Taylorism, reconstructs the labour force’s fundamentals and drives each worker to be a part of the mechanism. The financial bull market on technology investment precipitates this shift further and reformulates
the distribution of labour. I would call this inversion of capitalism the very essence of “pure capitalism,” i.e., the “free” economic system that encourages individuals’ voluntary competition to produce and trade without government intervention. It is not
easy to determine where administrative interference could engage the system if the workers have no human management. “My Boss Is Not Human”(</span><span lang="KO" class="">我的</span><span lang="KO" class="">领导</span><span lang="KO" class="">不是人</span><span lang="EN-US" class="">),
an article recently published in <i class="">Caijing</i>, a Chinese economic magazine, proves how this mechanical surveillance reorganizes the workplace. </span></font><span lang="EN-US" style="text-indent: 36pt; font-family: arial, sans-serif;" class="">You
can find it at this link: </span><span style="text-indent: 36pt; font-family: arial, sans-serif;" class=""> <a href="https://news.caijingmobile.com/article/detail/428729?source_id=40" target="_blank" class="">https://news.caijingmobile.com/article/detail/428729?source_id=40</a></span></div>
<div class="gmail_default"><span lang="EN-US" style="text-indent: 36pt; font-family: arial, sans-serif;" class=""><br class="">
</span></div>
<div class="gmail_default"><span lang="EN-US" style="text-indent: 36pt; font-family: arial, sans-serif;" class="">According to the report, many Chinese enterprises have adopted artificial intelligence for more efficient and standardized management. The new
system works with more than 20 surveillance cameras all over the workplaces and records every worker’s behaviours and activities. An electronic roll call at the entrance is necessary to identify each person and monitor the group. This algorithmic scrutiny,
the mechanical transformation of all human actions into data, totalizes the whole process of work like a single machine. The monitoring camera transcribes workers’ performance per second, and the central operating system checks up its efficiency. Each component
is designed as a prescribed processing time by the algorithm, and the “Intelligent Task Distribution System” will recognize and facilitate the due sequels of the worker’s actions. </span><span lang="EN-US" style="text-indent: 36pt; font-family: arial, sans-serif;" class="">The
electronic time attendance system refines the check-in procedures previously set at the company gate. Workers must swipe their cards if they leave the workplace. If they are absent at their seats for more than 15 minutes, the recorded data will be submitted
to the central operating system, and the sum of the salary will be automatically deducted at the end of the month.</span></div>
<div class="gmail_default">
<div style="margin: 0cm; text-indent: 36pt;" class=""><font face="arial, sans-serif" class=""><span lang="EN-US" class=""><br class="">
</span></font></div>
<font face="arial, sans-serif" class=""><span lang="EN-US" style="" class="">My point concerning this Chinese version of Taylor’s scientific management does not lie in the fact that Orwell’s imagination of Big Brother has come to be realized. Instead, the administration
aims to modify the human behaviours for the algorithmic mechanism. There is no such thing as Big Brother in the system, but the technological stupidity to control the workers by simplifying their actions. Any digressive and unpredicted move does not seem to
be allowed in this process. However, the workers follow the rules not because the system tightly governs them but because of the new scientific management's norms, i.e., the command of the mechanical surveillance, which forces them to obey the axioms of the
mechanism. Therefore, the algorithmic organization of the workplace is not a crucial factor in the new management. The problem is that there must be an invisible decision-maker behind the automatic system in solving any accidental and unpredictable outcome,
even though the algorithmic mechanism operates without the presence of the human boss in the venue. My argument is that the void of the surveillance, i.e., the subjective articulation, is always already included in the mechanism and preserves the locus of
resistance. I want to know what you think. </span></font></div>
<div class="gmail_default"><font face="arial, sans-serif" class=""><span style="caret-color: rgb(0, 0, 0);" class=""><br class="">
</span></font></div>
<div class="gmail_default"><font face="arial, sans-serif" class=""><span style="caret-color: rgb(0, 0, 0);" class="">All the best</span></font></div>
<div class="gmail_default"><font face="arial, sans-serif" class=""><span style="caret-color: rgb(0, 0, 0);" class="">Alex <br class="">
</span></font><font face="arial, sans-serif" class=""><span style="" class=""></span></font>
<div style="" class=""><br clear="all" class="">
<br class="">
</div>
</div>
<div class="gmail_default" style="font-family:arial,sans-serif;font-size:large"><br class="">
</div>
</div>
</div>
<br class="">
<div class="gmail_quote">
<div dir="ltr" class="gmail_attr">2021년 2월 16일 (화) 오전 9:33, Renate Ferro <<a href="mailto:rferro@cornell.edu" target="_blank" class="">rferro@cornell.edu</a>>님이 작성:<br class="">
</div>
<blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left-width:1px;border-left-style:solid;border-left-color:rgb(204,204,204);padding-left:1ex">
----------empyre- soft-skinned space----------------------<br class="">
Hello -empyreans-<br class="">
Many thanks to our Week 2 guests: Ana Valdés, Derek Curry, Jennifer Gradecki, and Geert Lovink. Also, thanks to our subscribers: Brian Holmes, Jon McKenzie and Amanda McDonald Crowley for joining in as participants. We appreciate all of your contributions
and we hope that if your schedule permits that you will continue to post through Week 3.
<br class="">
<br class="">
We welcome long-time subscriber Alex Taek-Gwang Lee for joining us once again on -empyre-. We always love to have Alex share with us his perspectives especially on the pulse of things in South Korea and Asia. A warm welcome to our new subscribers:
<br class="">
Paul O’Neill, Domenico Barra, Robert Collins, Roisin Kiberd, Ricardo Castellini Da Silva, and Kerry Guinan. Their biographies are listed below.
<br class="">
<br class="">
Looking forward to hearing more about each of your research areas and work as relates to this topic and extending our discussion.
<br class="">
Best, Renate <br class="">
<br class="">
Paul O’Neill (IE)<br class="">
Paul O’ Neill is a media artist based in Dublin, Ireland. His practice and research is concerned with the implications of our collective dependency on networked technologies and infrastructures. This discourse is reflected in his academic background, a graduate
of Dublin City University with a BA International Relations, he followed this with a MSc Multimedia also from Dublin City University and then an MA in Digital Art from the National College of Art and Design, Dublin. Paul is currently completing a practice-based
PhD which focuses on media art practices that critique and subvert techno-solutionist narratives and histories.
<br class="">
<a href="http://www.aswemaysink.com/" rel="noreferrer" target="_blank" class="">www.aswemaysink.com</a><br class="">
<br class="">
Domenico Barra (IL)<br class="">
Low resolution, High vision. Glitch is the event. Pixel is the element. My aesthetics is to be found in the realm of machines failures where I interpret the glitch in various environments and digital styles. The error. The limit. The unexpected. The diversity.
The fragility. The imperfection. The vulnerability. Departing from these grounds of elaboration, I develop my research and practice on various topics related to temporality, functionality, accessibility, opportunity, the influence of new technologies, design
and politics, have on human relations in terms of interactions and values, in the relation human and machine, with a focus on networks and community, behaviors and languages, memory and identity, how those contribute in the evolution of a new world, society,
human, their conception and perception through machines, individuals new self-awareness. My works have been published on sites and magazines including Motherboard, Bullet Magazine, Hyperallergic, Monopol, Observer, Artribune, Exibart, Widewalls and Digicult.
I am listed in the second volume publication about art and technology promoted by the Italian Minister of Foreign Affairs. I took part in many curatorial projects, my works exhibited at the DAM Gallery in Berlin, at the Media Center in New York, at the Galerie
Charlot in Paris, at the Digital Art Center in Taipei, online at World Intellectual Property Organization [WIPO], at the Central Academy of Fine Arts [CAFA] in Beijing, at the MediaLAB of the University of Brasilia, at the Wrong Biennale and in many other
galleries and cultural art events worldwide, and also included in academic talks and lectures at international institutes and universities. I directed the organization of the first Glitch Art group show in Italy, Tactical Glitches, curated by Rosa Menkman
& Nick Briz. In 2016 I was among the artists invited by the School of Art Institute of Chicago [SAIC] for its 150th anniversary where I gave a lecture and a public talk about piracy pratices, the impact of the internet and digital media on the production,
distribution and consumption of NSFW materials. I am part of the curatorial projects of Sedition Gallery, ELEMENTUM and Snark.Art. I collaborated with the MoCDA Museum, Hard Disk Museum and The Wrong Biennale. I teach glitch art and dirty new media at the
Rome University of Fine Art [RUFA] and I give lectures and presentations about glitch art and related topics at academies, schools and festivals. I am the creator of the online art network and community White Page Gallery/s.<br class="">
<br class="">
Alex Taek-Gwang Lee (KR)<br class="">
Alex Taek-Gwang Lee is a professor of cultural studies at Kyung Hee University in South Korea and a visiting professor at Jamia Millia Islamia University in India. He is a member of the advisory board for The International Deleuze and Guattari Studies in Asia,
Asia Theories Network and the board member of The International Consortium of Critical Theory (ICCT).
<br class="">
<br class="">
Robert Collings (IE)<br class="">
Robert Collins is an artist and designer based in Ireland.His work explores the inherent noise and saturation of information in contemporary society, through speculative objects, abstract interfaces and digital ethnography.Recently he has moved into the area
of Post-Industrial Design, seeking to explore design methodologies which can empower the public to answer the questions raised by Critical and Speculative Design. He holds an MSc in Interactive Media, where he explored the creation of spaces for adversarial
discussion and common ground.<br class="">
<a href="http://www.robbycollins.com/" rel="noreferrer" target="_blank" class="">http://www.robbycollins.com</a><br class="">
Roisin Kiberd (IE, DE)<br class="">
Roisin Kiberd is a writer from Dublin, currently living (on and off) in Berlin. Her essays and journalism on technology and culture have been published in the Dublin Review, the White Review, the Stinging Fly, the Guardian, Vice and others. Her first book,
The Disconnect, will be published by Serpent's Tail in March 2021. <br class="">
<br class="">
Ricardo Castellini DaSilva (BR, IE)<br class="">
Dr Ricardo Castellini da Silva is a media literacy educator with an interest in studies and practices at the interface between education and communications, especially in relation to digital media, multimodal learning and new literacy studies. His research
investigates the many ways in which new digital technologies can be used to promote media literacy for secondary students and enhance teachers’ practices in the use of technology in the classroom. Since 2015, Ricardo has been designing and delivering workshops
on media literacy to both teachers and students in secondary schools in Ireland. He also teaches on undergraduate and graduate programmes at both Dublin City University and Trinity College Dublin. Ricardo holds a PhD in Media Literacy from Dublin City University,
and a MA in Media, Culture and Education from the Institute of Education, University College London<br class="">
<br class="">
Kerry Guinan (IE)<br class="">
Kerry Guinan is a conceptual artist based in Limerick, Ireland. Her multi-disciplinary practice<br class="">
critiques capitalist relations through interventions, performances, and digital media. She also writes, curates, consults, teaches, and organises politically. Recent projects include a residency in Bill Drummond’s Curfew Tower in Antrim (2019), the curation
of TULCA Festival of Visual Arts: TACTICAL MAGIC (2019) in Galway, and the solo exhibition ‘Our Celestial Sphere’ at Pallas Projects/Studios, Dublin (2019). Upcoming projects include a public art commission for The Museum of Everyone, Offaly and exhibitions
at Rua Red, Dublin, the Glucksman, Cork, and Govan Project Space, Glasgow. <br class="">
In 2018, Guinan was awarded the Arts Council of Ireland’s prestigious Next Generation Award to develop her practice. She is currently a research scholar at the Limerick School of Art and Design where she is developing the practice of relational socialist realism:
an artistic methodology that gives form to global social relations.<br class="">
<a href="http://www.kerryguinan.art" class="">www.kerryguinan.art</a> <br class="">
<br class="">
Renate Ferro<br class="">
Visiting Associate Professor<br class="">
Director of Undergraduate Studies<br class="">
Department of Art<br class="">
Tjaden Hall 306<br class="">
<a href="mailto:rferro@cornell.edu" target="_blank" class="">rferro@cornell.edu</a><br class="">
<br class="">
<br class="">
<br class="">
_______________________________________________<br class="">
empyre forum<br class="">
<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank" class="">empyre@lists.artdesign.unsw.edu.au</a><br class="">
<a href="http://empyre.library.cornell.edu/" rel="noreferrer" target="_blank" class="">http://empyre.library.cornell.edu</a></blockquote>
</div>
<br clear="all" class="">
<div class=""><br class="">
</div>
-- <br class="">
<div dir="ltr" class="">
<div dir="ltr" class="">
<div class="">
<div dir="ltr" class="">
<div dir="ltr" class="">
<div dir="ltr" class="">
<div dir="ltr" style="font-size:12.8px" class="">Dr. Alex Taek-Gwang Lee<br class="">
<span style="font-size:12.8px" class=""><br class="">
</span></div>
<div style="font-size:12.8px" class=""><span style="font-size:12.8px" class="">Professor</span><br class="">
</div>
<div dir="ltr" style="font-size:12.8px" class="">School of Global Communication</div>
<div dir="ltr" style="font-size:12.8px" class="">Director</div>
<div dir="ltr" style="font-size:12.8px" class="">Global Centre for Technology in Humanities <br class="">
Kyung Hee University<br class="">
1732 Deogyeong-daero, Giheung-gu<br class="">
Yongin-si 17104
<div class="">Gyeonggi-do, South Korea</div>
<div class=""><br class="">
</div>
<div class=""><br class="">
Mobile: +82 (0)10 2787 1459<br class="">
Telephone: <span style="font-size:12.8px" class="">+82 (0)31 201 2285</span></div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
_______________________________________________<br class="">
empyre forum<br class="">
<a href="mailto:empyre@lists.artdesign.unsw.edu.au" class="">empyre@lists.artdesign.unsw.edu.au</a><br class="">
http://empyre.library.cornell.edu</div>
</blockquote>
</div>
<br class="">
</body>
</html>