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New INC Reader, new research project, post-precarity autumn camp, and much more...
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INC Newsletter September 2020 Nice to meet you again! In this first newsletter after the summer, you can find our latest publications together with the next events and a new exciting research project! Scroll down for more...
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OUT NOW: INC Reader #15 Critical Meme Reader: Global Mutations of the Viral Image  This Critical Meme Reader features an array of researchers, activists, and artists who address the following questions. What is the current state of the meme producer? What are the semiotics of memes? How are memes involved in platform capitalism and how do they operate within the context of different mediascapes? How are memes used for political counter strategies? Are memes moving beyond the image? How can memes be used to design the future? Will there ever be a last meme in history?Together, the contributors to this reader combine their global perspectives on meme culture to discuss memetic subjectivities and communities, the work of art in the age of memetic production, the post meme, meme warfare, and meme magic – varying from reflections on real-life experiences to meta meme theory. Download or order a free copy here ! We will host a launch event on the 7th of October in Amsterdam. Spui25, h. 17:00. More information soon! |
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New Project - Viral image Culture  Viral images both reflect and shape the world we live in. With our project Viral Image Culture, we research the discourses, practices, and ethics around the viral image in our society, and bring together a network of researchers, artists, and activists working on these subjects. From critical meme theory and emoji studies to TikTok analysis and Instagram counter-strategies. Website Newsletter |
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Event - Post-Precarity Autumn Camp: How to survive as an artist?  September 27, 2021 - October 1, 2021 From September 27th until October 1st, the Institute of Network Cultures, Hotel Maria Kapel, and Platform BK organize an autumn camp for young art workers. Fifteen recently graduated artists, designers and theater makers are invited to five days of conversations, workshops and communal activities. Each day, we will address one important theme of working and living in the Dutch cultural sector: from working in the gig economy and moneyflows in the cultural sector, to experiments with crypto, staying happy and healthy, and durable self-organisation. The results will be collected and distributed in a zine, to make sure that all (young) cultural workers can share in the developed insights. More info here: https://networkcultures.org/events/post-precarity-autumn-camp-how-to-survive-as-an-artist/ |
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TOD 41: Pandemic Exchange: How Artists Experience the COVID-19 Crisis Edited by Josephine Bosma Art writer and curator Josephine Bosma, feeling quite cut off herself after a year of lockdowns and too much screen time, saw both desperate and relieved outcries from artists popping up through the glossy algorithmic veneer on social media. She decided to reach out to some of the more outspoken voices. From this an interview project was born, which grew into this collection of heartfelt stories and brief reports from artists trying to survive the pandemic and sometimes finding unexpected ways to do so. Download a copy here .
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Post-precarity by Sepp Eckenhussen Working in the Dutch cultural sector must be a horror. Artists earn on average 18,340 euros gross per year. That is slightly more than half that of a garbage collector and 28 times less than the CEO of KLM (not counting the bonus). Half of the people in the cultural sector work as freelancers and in the visual arts this is even 80%. These freelancers and flex workers have a bad negotiating position... continue reading
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A Natural Social Network By Marco Simonetti Ettore was a successful entrepreneur. His firm was thriving, every year there was an increase in turnover. He had quite a few trusty collaborators. He had a lot of work. His business closely reflected market logic: long hours in the traffic, tight schedule, continuous communications, but above all, inevitably and not at his own choosing, many strategic, commercial relations. In short, 'he was a client, and he had a clientele.... continue reading
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Access To Tools_
By Nina Sarnelle In his comprehensive history From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network and the Rise of Digital Utopianism, Fred Turner attributes Brand's anxieties to a distaste for both the Cold War enemy and his parents' generation: “ the army of gray flannel men who marched off to work every morning in the concrete towers of American industry.” Both the military and the corporate world “moved according to clear lines of authority and rigid organizational structures,” pushing a young Stewart Brand toward the art world, where he saw.... continue reading
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Shot Theory. From Viagra to the COVID-19 Vaccine, Pfizer Got it Right
By Donatella Della Ratta How did data culture evolve in the past decade up to present day? It shifted from the euphoria of sharing for the sake of sharing, characterizing Web 2.0's advent in the mid-2000s, to the uber surveillance marking the post Arab Spring moment. I will map out how data culture has evolved over the years... continue reading
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Machine Dreaming
By Georgiana Cojocaru Generative Pre-trained Transformer 3, better known as GPT-3, was launched by Google in May 2020. It's the successor to GPT-2, created by OpenAI, a San Francisco-based artificial intelligence research laboratory owned by Elon Musk and trained on data that include all of Google Books and all of Wikipedia. OpenAI states that they can apply GTP-3 ʻto any language task — semantic search, summarization, sentiment analysis, content generation, translation, and more — with minimal input.'... continue reading
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Digital Golem, Gesticulating Hybrids, Affective Clones & whatever they want
By Marko Gutić Mižimakov Bodies – photoshopped, facetuned, beautified, deepfaked, synthesized simulated, rendered, digitized. What do these impalpable figures on the surface of the screen want from our palpable fingers holding it? Do they want something? Puzzled by the idea that images might want something (as suggested by WJT Mitchell, 2005) I started exploring possible modes of relating to digital images through a performative frame... continue reading
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