[-empyre-] Welcome to the November: Documenting Digital Artivism

Mon Nov 4 00:50:46 EST 2013

*November on –empyre soft-skinned space: Documenting Digital Artivism*

Moderated by Selmin Kara (Canada), Patrick Keilty (Canada) and Camilla
Møhring Reestorff (Denmark) with invited discussants Zach Blas (USA),
Matthew Brower (Canada), micha cárdenas (USA), Sandra Danilovic (Canada),
Scott Hocking (USA), Andrew Lau (USA), Chaya Litvack (Canada), David
McIntosh (Canada), Owen Mundy (USA), Samara Smith (USA), and Ebru Yetiskin
(Turkey).

Documenting Digital Artivism

In the process of mediatization, broadly defined as a process in which
diverse political discourses get communicated and shaped by media (Hjarvard
2009, Castells 2009, Hepp 2012), art practices, documentary forms, activism
and politics get intertwined, prompting the establishment of hybrid fields
of activity such as “artivism” (art activism), which benefits from the
expansion of the means of documentation in the age of networks and new
media. While much has been made of the digital transformations of both art
and documentation, we don’t typically think of the two together. Perhaps
this owes to our tendency to link the concepts of “documentation” to
authority and the presumed neutrality of information and data. Conversely,
“art” often challenges, critiques, or subverts power, authority and the
immutability of the document. In this discussion, we want to put into
critical conversation concepts of documentation, activism, and digital art
practices in order to understand the ways in which they inform and at times
sustain each other. Several scholars have touched on different aspects of
this topic, including Lisa Gitelman, Victoria Vesna, Johanna Drucker, Leah
Lievrouw, Timothy Murray, Rita Raley, Eugene Thacker, Mark B. N. Hansen,
Tony D. Sampson, Stig Hjarvard, Jussi Parikka, Boris Groys, and Erkki
Kurenniemi, to name only a few. The following questions act as a
provocation to discussion:

-- What does digital culture -- especially networked culture, information,
technological apparatus, and database logic -- mean for artivism?

-- How far does it make sense to conceive of artivism and documentary forms
together or separately?

-- How are artivism and journalism similar/ different?

-- Do new social engagements and political coalitions arise from
documenting digital artivism? If so, what forms do they take? Are they
sustainable?

-- What makes art an effective form of activism?

-- Does artivism contain documentary or evidentiary qualities? If so, for
what purpose?

-- Does activism act as an intermediary between digital art and
documentation?

-- How does documentation change the representational qualities of artivist
projects?

-- Does documentation undercut the productive qualities of fleeting or
ephemeral artivist projects?

-- Who gets to document artivism and for what audience?

-- How might documentation and evidentiary practices be geographically,
socially, economically, and culturally specific?

-- Does it make sense to talk about activism and artworks or should we talk
about ‘net-works’?

-- How does mediatization and documentation change the ways in which people
participate in artivist practices?

-- Does digital artivism have an impact? How do we evaluate artivist
practices?

For further provocation, the following contexts and artivist projects,
which are close to our own research interests, reflect a few examples of
the intersection of documentation and digital artivism. We hope that
discussants will take them as an invitation to consider other examples of
this intersection.

This year’s Istanbul’s Biennial, running between Sept 14 - October 20,
2013, took on a peculiar tone after the explosive summer Gezi Park protests
that shook the country. Deutsche Welle reported on Sept 20, 2013 that
Istanbul’s public spaces had been transformed into political forums, with
art and activism spilling into the streets and the vast expanses of the
network, somewhat negating the need for a politically engaged international
art exhibition. Therefore, artists and curators reportedly felt the need to
rethink the purpose of their work according to what was going on in the
streets instead of positioning themselves as the sole catalysts for the
transformation of urban space. The pervasive adoption of art activism and
its documentation-distribution through various media by the masses is of
course not a phenomenon particular to Turkey; social justice movements in
various countries in the past decade (especially protests in Brazil and
Egypt during the summer of 2013) saw the emergence of social media and
digital artivism as a common strategy among the netizens of the world.

To mark the 25th anniversary of the creation of the AIDS Memorial Quilt,
Anne Balsamo collaborated with a team of research-designers to create
several digital experiences for the <http://quilt2012.org/> Quilt 2012
events that unfolded in Washington DC from June 27-July 27, 2012, including
a database of the AIDS Memorial Quilt, designed for mobile devices:
http://www.aidsquilttouch.org/

Zach Blas’ Facial Weaponization Suite produces forms of protest against
biometric facial recognition–and the inequalities these technologies
propagate–by making “collective masks” in community-based workshops that
are modeled from the aggregated facial data of participants. The masks are
used for public interventions and performances. One mask, the Fag Face
Mask, is a response to scientific studies that link determining sexual
orientation through rapid facial recognition techniques. This mask is
generated from the biometric facial data of many queer men’s faces,
resulting in an amorphous mask that cannot be detected by biometric facial
recognition technologies.
http://www.zachblas.info/projects/facial-weaponization-suite/

In Local Autonomy Networks, an artivist project focused on creating
networks of communication to increase community autonomy and reduce
violence against various marginalized communities, micha cárdenas and a
network of artists, hackers, and activists designed a line of mesh
networked electronic clothing with the goal of building autonomous local
networks that don’t rely on corporate infrastructure to function, inspired
by community based, anti-racist, prison abolitionist responses to gendered
violence. The Autonets garments, when activated, alert everyone in range of
the the local mesh network who is wearing another autonet garment that
someone needs help and will indicate that person’s direction and distance.
http://autonets.org/

In 2012 Chinese artivist Ai Weiwei made an imitation of South Korean PSY’s
hit Gangnam Style Ai Weiwei’s version Grass Mud Horse Style was removed
from the Chinese video-sharing site Tuduo by the Chinese authorities but
initially went viral. It was uploaded on YouTube, broadcast in news media
around the world, and shared and imitated by artists such as the British
sculptor Anish Kapoor. Grass Mud Horse Style testifies to the net-worked
character of artivism. The video only moves from dissent to resistance and
gains political significance through the actions of others – is becomes
political when it is censored, circulated and embedded in art institutions.

Following Edward Snowden’s leak on NSA’s surveillance, the organisation has
been the “victim” of several artivist pranks. Iranian-Dutch filmmaker
Bahram Sadeghi called NSA claiming to have accidentally deleted an email
message asking if NSA, famous for its “email storage” could help him get it
back. Whereas Sadeghi ridicules NSA, Ben Grosser, the creator of ScareMail,
seeks to disturb NSA’s algorithms. ScareMail attaches texts to the bottoms
of emails, designed to capture the attention of NSA’s filtering mechanism
and render these useless. Similarly Jörg Piringer’s project vy2ms serves as
a challenge to governmental code-crakers, by using enigmatic language and
mysterious images and diagrams.

This month’s November edition of –empyre “Documenting Digital Artivism” is
moderated by Selmin Kara (Canada), Assistant Professor of Film, Ontario
College of Design University; Patrick Keilty (Canada), Assistant Professor
of Information and Sexual Diversity Studies, University of Toronto; and
Camilla Møhring Reestorff (Denmark), Assistant Professor of Aesthetics and
Communication, Aarhus University

*Week 1:  micha **cárdenas  (USA), Andrew J. Lau (USA), and Samara Smith
(USA)*

*micha cárdenas *is an artist, hackctivist, poet, performer, student, and
educator, mixed-race trans femme Latina survivor who works at the
intersection of movement, technology and politics. micha is a PhD student
in Media Arts and Practice (iMAP), Provost Fellow at University of Southern
California, and a member of the art collective Electronic Disturbance
Theater 2.0. micha’s project, Local Autonomy Networks, was selected for the
2012 ZERO1 Biennial in San Jose and was the subject of three of their
keynote performances. micha’s co-authored book *The Transreal: Political
Aesthetics of Crossing Realities*, was published by Atropos Press in 2012.
In 2013 micha has been a New Directions Scholar at the USC Center for
Feminist Research and a MacArthur Foundation HASTAC Scholar. micha holds an
MFA from University of California, San Diego, an MA in Communication from
the European Graduate School and a BS in Computer Science from Florida
International University. They blog at michacardenas.org and tweet at
@michacardenas <http://twitter.com/michacardenas>

*Andrew J. Lau* is an archivist and the production lead in the Office
of Instructional
Enhancement at UCLA Extension. He received his PhD in information studies
at UCLA, as well as a master's degree in library and information science
with a specialization in archival studies. Andrew's research interests
include documentation and social practices in contemporary art, community
archival informatics, educational technology, and critical approaches to
information and archival studies. In conjunction with this research agenda,
he is passionate about teaching and instruction both in and out of
educational institutions. Prior to moving to Oakland where he presently
resides, Andrew designed and taught Glendale Community College's first
course on new media and information studies. He has also organized and led
workshops on archives, recordkeeping, and documentation at the California
Institute of the Arts, the Public School Los Angeles, and Southern Exposure.

*Samara Smith*, a documentary media practitioner and educator, creates
site-specific projects in and about public space.  *Chain
Reaction*<http://hammer.ucla.edu/exhibitions/detail/exhibition_id/229>,
her locative game exploring urban environments, was recently exhibited at
the Hammer Museum in Los Angeles. *Anyplace,
Brooklyn*<http://samarasmith.com/archives/203>
*,* her sound walk about urban space and development, was featured at the
Conflux Festival in 2007. She is currently working on a soundwalk
documenting Occupy Wall Street’s transformation of NYC’s Zuccotti
Park.  Samara is also the creative producer of *Experiments: Old Westbury
Oral History Project*, which documents the College’s experimental roots on
an interactive video documentary website.  She has over a decade of
documentary film experience with credits on many award-winning films.
Samara is an Assistant Professor of video and new media at SUNY College at
Old Westbury and holds an MFA in Integrated Media Arts from Hunter College.

*Week 2: Matthew Brower (Canada) and Chaya Litvack (Canada)*

*Matthew Brower *is Lecturer in Museum Studies in the Faculty of
Information at the University of Toronto. Curator of *Mieke Bal: Nothing is
Missing* (University of Toronto Art
Centre<http://www.utac.utoronto.ca/past-exhibitions/154-nothing-is-missing>
 2009); *Gord Peteran: Recent Works*
(UTAC<http://www.utac.utoronto.ca/past-exhibitions/173-gord-peteran-recent-works>
2009);
and *Threatened, Endangered, Extinct* (Open
Studio<http://www.openstudio.on.ca/osgallery.html>
 2014). Co-curator of *The Brothel Without Walls*
(UTAC<http://www.utac.utoronto.ca/past-exhibitions/195-the-brothel-without-walls>
 2010), *Suzy Lake: Political Poetics*
(UTAC<http://www.utac.utoronto.ca/past-exhibitions/221-suzy-lake>
 2011, McIntosh Gallery<http://mcintoshgallery.ca/exhibitions/past/2012.html>
 2012, MacDonald Stewart Art Centre <http://www.msac.ca/> 2012, Mount Saint
Vincent University Art
Gallery<http://msvuart.ca/index.php?menid=02&mtyp=17&article_id=407&sby=6&sbyk=2012&sbyn=&pin=0>
 2012, Art Gallery of Peterborough <http://www.agp.on.ca/past2012.php>
2012-13);
and *Collective Identity │Occupied Spaces
*(UTAC<http://www.utac.utoronto.ca/past-exhibitions/262-public-contact-2012>
 and Museum of Contemporary Canadian
Art<http://www.mocca.ca/blog/exhibition/public201/> 2013).
Author of *Developing Animals: Wildlife and Early American Photography
*(University
of Minnesota Press<http://www.upress.umn.edu/book-division/books/developing-animals>
 2010).

*Chaya Litvack* is a second year doctoral student in the Faculty of
Information at University of Toronto. Her research centres on strategies
for archiving performance art in order to explore the relationship between
material techniques, temporality, and historiographical practices. She
brings performance practices in contact with archival theory with the goal
of expanding the ways in which archival techniques might foster the
creation of new approaches to writing performance histories.

*Week 3: Zach Blas (USA), **Sandra Danilovic (Canada)*, *and David McIntosh
(Canada)*

*Zach Blas* is an artist and writer whose work engages technology,
queerness, and politics. He is the creator of art group Queer Technologies,
a founding member of The Public School Durham, and a PhD candidate in The
Graduate Program in Literature, Information Science + Information Studies,
and Visual Studies at Duke University. Currently, he is producing a body of
work that responds to technological control and refusals of political
visibility through tactics of escape, disappearance, illegibility, and
opacity. One project, Facial Weaponization Suite, produces forms of
aesthetic resistance against biometric facial recognition by making
“collective masks” in community-based workshops. http://www.zachblas.info/

*Sandra Danilovic *is a SSHRC Doctoral Fellow and PhD student in
Information Studies at University of Toronto. She researches DIY game
design authorship and experimental and expressive (autobiographical) design
strategies in non-mainstream digital games. She draws on arts-based
methods, critical and cultural theory and digital aesthetics to re-imagine
inclusive game design and accessibility philosophy. Her fine arts
background in film and mixed media is an important component of her
professional trajectory. Her semi-autobiographical machinima documentary,
Second Bodies, won Best Documentary at the New Media Film Festival in San
Francisco (2010). Her previous documentaries explored immigrant narratives
set within archival and contemporary contexts; Portrait of a Street: The
Soul and Spirit of College (2001) and Just Arrived (2004) are one-hour
documentaries respectively broadcast on PBS and Rogers OMNI
Television. Currently, her artistic practice involves learning to design
computer games and game art with Toronto's Dames Making Games (www.dmg.to).

*David McIntosh* is Professor of Media Studies at OCAD University in
Toronto, Canada. His primary research fields are: globalization and the
political-economies of audiovisual spaces; network theories and practices;
new media narrativity; mobile locative media; game theory; digital
documents; Latin American media studies; and queer media. He has lived and
worked extensively in Canada, Cuba, Mexico, Argentina and Peru. His
critical writing on film, video and new media has been published widely in
books and periodicals. His recent critical texts have focused on a range of
art, design and technology subjects including: the work of aboriginal
visual artist Kent Monkman; art and design methods applied to mobile media;
and, the role of state policy in mobile media innovation. He has curated
film, video and new media programs for the Funnel Experimental Film Centre,
the Toronto International Film Festival, Cinematheque Ontario, the Hot Docs
Documentary Festival, Nuit Blanche Toronto, the National Gallery of Cuba,
the National Gallery of Argentina, and the Museo de Arte Latinoamericano de
Buenos Aires (MALBA). He is an award winning documentary film producer
(Tina in Mexico, 2002) and dramatic screenwriter (Stryker, 2004). He was
researcher with two recent OCAD mobile media projects: Mobile Digital
Commons Network, where he was a Creative Lead and Project Director on the
cellphone experience The Haunting (2007); and Portage (2007-2008), where he
developed a range of interactive mobile media applications, including the
Mobile Media Workshop in a Suitcase (2007). He was artist in residence at
the Amauta New Media Centre in Cusco, Peru in 2007, where he began research
and development of a distributed, digital documentary based in mobile media
uses in the informal economy of Cusco, Peru. In 2010 he completed this
innovative, multi-screen, multi-platform mobile documentary project in
Cusco, Peru, titled Qosqo Llika (www.qosqollika.org ). Most recently he was
awarded a major grant to undertake the new digital media work Quipucamayoc,
a transmedial, translocal multiplayer game creation with two Andean
communities that merges interactive public performance/installation with a
live action gaming platform, and that composits sensor-enhanced characters
with documentary photographic locative backgrounds in the game play. In
2008, McIntosh was the recipient of the prestigious OCAD University Award
for a Career of Distinguished Research and Creation.

*Week 4: Scott Hocking (USA), Owen Mundy (USA), and **Ebru Yetiskin
(Turkey)*

Based in Detroit, *Scott Hocking *is a multidisciplinary artist whose work
is dependent upon the forgotten spaces where he practices. He
creates sculptural installations and photography projects, often using
found materials and abandoned locations. His artwork has been exhibited
throughout the United States, Europe, Asia and Australia, including the
Detroit Institute of Arts, Cranbrook Art Museum, the Museum of Contemporary
Art Detroit, the University of Michigan, the Smart Museum of Art, the
School of the Art Institute Chicago, Contemporary Art Museum St. Louis, the
Pennsylvania Academy of Fine Arts Museum, the Kunst- Werke Institute, the
Van Abbemuseum, and the Kunsthalle Wien. He was recently awarded a Kresge
Artist Fellowship, and his work will be part of upcoming exhibitions at the
Mattress Factory Art Museum in Pittsburgh and the Museum of Contemporary
Art Chicago.

*Owen Mundy* is an artist, designer, and programmer who investigates public
space and its relationship to data. His artwork highlights inconspicuous
trends and offers tools to make hackers out of everyday users. He has an
MFA in Visual Art from the University of California, San Diego and is an
Assistant Professor of Art at Florida State University.

*Ebru Yetiskin* studied Radio-TV-Cinema as a bachelor degree in Istanbul
University. She attended the master program on Science, Technology and
Society in Istanbul Technical University and Université Louis Pasteur in
2001, and she started to work on the interaction between science,
technology and political economy. She completed the PhD program in
sociology in Mimar Sinan Fine Arts University in 2008. She conducted the
preliminary phase of her thesis research in Centre Sociologie de
L’Innovation in Ecole Nationale Supérieure des Mines de Paris as a visiting
scholar with Bruno Latour and Antoine Hennion. Since 2002, she has been
working as a researcher in Istanbul Technical University, and teaching
sociology and media in The Department of Humanities and Social Sciences.
She teaches part-time in Işık University on contemporary arts, new media
arts, science and technology. She also gave classes in New York University,
University of Southampton and Inholland University as a visiting scholar.
She is a member of International Association of Art Critics (AICA) and has
edited a special volume of *Toplumbilim* on postcolonial thought, which is
the first edited volume on the subject in Turkey. Since two years, she is
conducting a research on how to read and write new media art and
collaborating with new media artists by giving performance lectures,
workshops and panels in New York, Berlin and Istanbul. Ebru is one of the
board members of Amber Art and Technology Festival, and curating her first
exhibition, “Cacophony”, between November 15 – December 31, 2013 in
açıkekran new media art gallery in Istanbul.

*Moderators: Selmin Kara (Canada), Patrick Keilty (Canada), Camilla *
*Møhring* *Reestorff (Denmark)*

*Selmin Kara* is an Assistant Professor of Film and New Media Studies and a
co-chair of the colloquium series in media studies and research,
ProprioMedia, at OCAD University in Toronto. Originally Turkish, she
received her BA and MA in Istanbul, Turkey, and PhD in Detroit, Michigan.
She has critical interests in the use of digital technologies, tactical
media, and sound in documentary as well as post-cinematic aesthetics and
new materialist approaches in film. Her work has appeared in "Studies in
Documentary Film" and "Poiesis: A Journal of the Arts & Communication," and
the "Oxford Handbook of Sound and Image in Digital Media."  Selmin is
currently co-editing a journal issue on "unruly documentary artivism" and
working on her monograph “Reassembling Documentary: Sound and Image from
Actuality to Virtuality,” which proposes a modular and assemblistic
framework for understanding documentary practices in the age of networks.

*Patrick Keilty* is Assistant Professor in the Faculty of Information at
the University of Toronto, and teaches in the Bonham Centre for Sexual
Diversity Studies there. His writing examines and critiques feminist and
queer engagements with digital technology, particularly focusing on visual
culture, database logic, metadata, existential phenomenology, and sexual
desire. He is co-editor of Feminist and Queer Information Studies Reader.
His monograph project, provisionally titled Desiring Database Logic:
Embodiment and Electronic Culture, engages the question of how our embodied
engagements with labryinthine qualities of database design mediate
aesthetic objects and structure sexual desire in ways that abound with
expressive possibilities and new narrative and temporal structures.

*Camilla **Møhring* *Reestorff* is Assistant Professor in the Department of
Aesthetics and Communication, Aarhus University and honorary research
fellow at the Department of Culture and Communication, University of
Melbourne. She has conducted research on nationalism and the intertwining
of art, activism and politics in the Danish ‘Culture War’. Her publications
include work on contemporary cultural politics and political art, e.g.
in *Globalizing
Art. Negotiating Place, Identity and Nation in Contemporary Nordic
Art* (Thomsen
and Ørjasæter 2011), fictionality as a rhetorical strategy (Andersen, Brix,
Kierkegaard, Skov, Stage and Reestorff 2013) and unruly artivist practices,
e.g. “Buying Blood Diamonds and Altering Global Capitalism. Mads Brügger as
Unruly Artivist in *The Ambassador*” (Reestorff 2013). Her primary research
focus is mediatization, art, artivism and cultural participation.

On Sat, Nov 2, 2013 at 10:50 PM, Renate Ferro <rtf9 at cornell.edu> wrote:

> ----------empyre- soft-skinned space----------------------
> We welcome three moderators to -empyre soft-skinned space, Selmin Kara,
> Patrick Keilty ad Camilla Mehring.  They have rounded up a hearty list of
> guests this month and we are anticipating a lively discussion, "Documenting
> Digital Artivism."
>
> We first met Patrick and Selmin a couple of summers ago when they attended
> the School for Criticism and Theory at Cornell.  We are very happy that
> they have agreed to organize this online discussion spawned from their
> collective work with Camilla.  Welcome and we look forward to the month.
> While I list the moderator's biographies below, Patrick will be posting the
> introduction soon with all of the guests biographies in their entirety.
>
> Renate
>
> Moderators: Selmin Kara (Canada), Patrick Keilty (Canada), Camilla Møhring
> Reestorff (Denmark)
>
> Selmin Kara is an Assistant Professor of Film and New Media Studies and a
> co-chair of the colloquium series in media studies and research,
> ProprioMedia, at OCAD University in Toronto. Originally Turkish, she
> received her BA and MA in Istanbul, Turkey, and PhD in Detroit, Michigan.
> She has critical interests in the use of digital technologies, tactical
> media, and sound in documentary as well as post-cinematic aesthetics and
> new materialist approaches in film. Her work has appeared in "Studies in
> Documentary Film" and "Poiesis: A Journal of the Arts & Communication," and
> the "Oxford Handbook of Sound and Image in Digital Media."  Selmin is
> currently co-editing a journal issue on "unruly documentary artivism" and
> working on her monograph “Reassembling Documentary: Sound and Image from
> Actuality to Virtuality,” which proposes a modular and assemblistic
> framework for understanding documentary practices in the age of networks.
>
>
>
> Patrick Keilty is Assistant Professor in the Faculty of Information at the
> University of Toronto, and teaches in the Bonham Centre for Sexual
> Diversity Studies there. His writing examines and critiques feminist and
> queer engagements with digital technology, particularly focusing on visual
> culture, database logic, metadata, existential phenomenology, and sexual
> desire. He is co-editor of Feminist and Queer Information Studies Reader.
> His monograph project, provisionally titled Desiring Database Logic:
> Embodiment and Electronic Culture, engages the question of how our embodied
> engagements with labryinthine qualities of database design mediate
> aesthetic objects and structure sexual desire in ways that abound with
> expressive possibilities and new narrative and temporal structures.
>
>
>
> Camilla Møhring Reestorff is Assistant Professor in the Department of
> Aesthetics and Communication, Aarhus University and honorary research
> fellow at the Department of Culture and Communication, University of
> Melbourne. She has conducted research on nationalism and the intertwining
> of art, activism and politics in the Danish ‘Culture War’. Her publications
> include work on contemporary cultural politics and political art, e.g. in
> Globalizing Art. Negotiating Place, Identity and Nation in Contemporary
> Nordic Art (Thomsen and Ørjasæter 2011), fictionality as a rhetorical
> strategy (Andersen, Brix, Kierkegaard, Skov, Stage and Reestorff 2013) and
> unruly artivist practices, e.g. “Buying Blood Diamonds and Altering Global
> Capitalism. Mads Brügger as Unruly Artivist in The Ambassador” (Reestorff
> 2013). Her primary research focus is mediatization, art, artivism and
> cultural participation.
>
>
>
>
>
>
> --
>
> Renate Ferro
> Visiting Assistant Professor of Art,
> (contracted since 2004)
> Cornell University
> Department of Art, Tjaden Hall Office:  306
> Ithaca, NY  14853
> Email:   <rferro at cornell.edu>
> URL:  http://www.renateferro.net
>       http://www.privatesecretspubliclies.net
> Lab:  http://www.tinkerfactory.net
>
> Managing Co-moderator of -empyre- soft skinned space
> http://empyre.library.cornell.edu/
>
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>

-- 
Patrick Keilty
Assistant Professor
Faculty of Information
University of Toronto
@patrickkeilty <https://twitter.com/PatrickKeilty>
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