From czegledy at interlog.com  Tue Sep  2 15:41:13 2025
From: czegledy at interlog.com (czegledy at interlog.com)
Date: Tue, 02 Sep 2025 09:41:13 -0400
Subject: [spectre] Space Shelter Earth in Bucharest Sept 17-27 2025
In-Reply-To: <c63a9bd0-bd91-41ee-980c-73fd5a95b78e@gmail.com>
References: <c63a9bd0-bd91-41ee-980c-73fd5a95b78e@gmail.com>
Message-ID: <20250902094113.86445ggq85pin2t5@webmail.ca.inter.net>

Hello Annick and Marcus,

Congratulations and good luck to the Space Shelter Earth.

As I will be nearby, I consider to join the opening from Budapest.
Now still in Toronto, will search for train connections from Budapest
for a very short stay. It you could help to find accommodations for
a couple nights it would be highly appreciated.

all the very best

nina



Quoting Annick2 via SPECTRE <spectre at mikrolisten.de>:

> Dear Spectrites,
>
> It is my great pleasure to announce that the project /Space Shelter  
> Earth/ is landing in Bucharest Sept 17th.
> Come and visit us!
> All info below
>
> Best
> Annick Bureaud
>
> *Space Shelter Earth-B-02 - Bucharest 2025 *
>
> *Of Nature, Concrete, Cracks and Power*
>
> a *PS:Earth* project
>
> September 17th - 27th 2025
>
> Atelier 030202 - Sfânta Vineri St. 11, Bucharest
>
> *Websites*:
>
> Space Shelter Earth: https://space-shelter.earth
>
> Marginal: https://marginal.ro <https://marginal.ro>
>
> *September 17th-27th 2025: /Space Shelter Earth/ to be created in Bucharest.*
>
> As part of Marginal */PS:Earth/* project, */Space Shelter  
> Earth-B-02/* will be created and exhibited in Bucharest at Atelier  
> 030202 from September 17th to 27th.
>
> What would you be sheltering from?
>
> What is (are) the language(s) spoken in your shelter?
>
> Is a plant a shelter or do you need to shelter a plant?
>
> Does the material of your shelter allow for cracks of opportunity?
>
> These are some of the trigger questions that the team members will  
> explore and react to, to collectively build /Space Shelter  
> Earth-B-02/ and provide their own individual and collective  
> interpretation of what those three words ?space-shelter-earth?  
> can/could mean.
>
> /Space Shelter Earth/is an imaginary, critical and poetic  
> alternative interpretation of past and current space stations and  
> habitats.
>
> Conceived by artist Marcus Neustetter and curator Annick Bureaud,  
> the project is an evolving and collaborative, nomadic and ephemeral,  
> installation-artwork, each time designed and built /in situ/ by an  
> /adhoc /new team.
>
> In Bucharest, under the thread "Of Nature, Concrete, Cracks and  
> Power", it will gather Ada Anghel, Sorin Badea, Liviu Bulea, Annick  
> Bureaud, Cosmin Ciobanu, Alexandra Costea, Marcus Neustetter, Roxana  
> Nicoar?, Alexandra Sofonea, Sabina Suru, Andrei Tudose, and Vitaly  
> Yankovy as team members.
>
> *Credits & Infos*
>
> Produced by Marginal as part of their /PS:Earth/ project
>
> co-funded by the Administration of the National Cultural Fund (AFCN).
>
> The project does not necessarily represent the position of the  
> Administration of the National Cultural Fund. AFCN is not  
> responsible for the content of the project or how the results of the  
> project may be used. These are entirely the responsibility of the  
> receiver of the grant.
>
> partners: Bucharest Institute of Biology, Austrian Cultural Forum ;
>
> media partners: TBA
>
> **
>
> *Location*: Atelier 030202 - Teatrul de Comedie - Sfânta Vineri St.  
> 11**- Bucharest
>
> *Public Days*:
>
> -Tuesday September 17th - 6:00 - 8:00 pm - Round table: ?In the  
> Empty Room? - introducing the team and project
>
> -Friday September 27th - Public Day - /Space Shelter Earth - B-02 /
>
> Time and programme TBA
>
> //
>
> *Open Studio*: Dates, Time and programme TBA
>




From paul at paul-brown.com  Wed Sep  3 03:37:00 2025
From: paul at paul-brown.com (Paul Brown)
Date: Wed, 3 Sep 2025 11:37:00 +1000
Subject: [spectre] [CAS] Two Exhibitions: Opening and Talks - Marcus West &
 Drivers
Message-ID: <FD5BF677-18ED-4F38-92B7-FE6254993ED6@paul-brown.com>

R E M I N D E R

The Computer Arts Society 2025 programme continues

Two Exhibitions: Opening and Talks
Marcus West – Retrospective 1978-2025
Drivers – Work by CAS Committee Members

Speakers: Marcus West, Stephen Bell & Others; Moderator: Sean Clark
18:00 BST, Wednesday, 17 September 2025
Other time zones here:  https://www.timeanddate.com <https://www.timeanddate.com/> 

This hybrid event will be held In Person and via Zoom.  Booking essential - link below.
BCS, The Chartered Institute for IT
25 Copthall Avenue, London, EC2R 7BP, UK
Directions here: https://www.bcs.org/about-us/our-london-office-and-event-venue/

Many people in the field of Computer Art are fascinated by the use of computers to participate in the process of drawing or artistic creation.  By contrast, Marcus West is: ‘much more focused on the product, the result. My goal is to create images with impact, complexity and subtlety, works that are striking but that do not reveal all their secrets at a single glance. A theme in some works has been a sense of Light existing in their hinterland, such that the works may oﬀer a glimpse beyond, perhaps even a glimpse of transcendence.  Although the programs are written by me, they may still oﬀer surprises as they unfold in detail, and I typically "tweak" various aspects of a program many times in my attempt to achieve the eﬀect I am seeking.’

Drivers is an exhibition of work by Computer Arts Society (CAS) committee members, providing an insight into the range of practices of the people who coordinate the society's activities. The title alludes to the computer term "driver" which refers to a software interface that enables communication between hardware and operating system, and the ways in which the CAS committee are drivers of engagement in computer arts. Stephen Bell, the exhibition's curator, will give a brief overview of the show and some exhibitors will be available to discuss their work. Exhibitors:  Anna Dumitriu, Catherine Mason, David Upton, Ernest Edmonds, Geoff Davis, Graham Diprose, Paul Brown, Sean Clark, Stephen Bell and Sue Gollifer. An online catalogue will also be available.

Marcus West’s journey with digital art began in the 1970s at University College Cardiﬀ, as it then was. He created geometrically-inspired line drawings by writing programs in FORTRAN that ran on the university's mainframe computer, which in turn controlled a plotting device. Since the early 2000s, he has mainly used Pascal and Processing to create his images, enhancing them using Photoshop and Aﬃnity Photo.

Stephen Bell is an artist, educator and a member of the CAS Management Committee.

The presentations will be followed by musical works composed by West using the Synth100 in 1980 that will accompany the exhibition viewing and reception.  The event will be recorded and uploaded to the CAS YouTube Channel.

This event is In-Person and via Zoom and open to the public and is free but you must book your place here:  https://ComputerArtsSociety170925.eventbrite.co.uk <https://computerartssociety170925.eventbrite.co.uk/>
___________________________________

Our next meeting will feature a talk by Gary Hall on October 15, 2025, via Zoom.
You can see our future programme here: https://computer-arts-society.com/events/index.html


From ab at mikro.in-berlin.de  Wed Sep  3 10:38:07 2025
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Wed, 3 Sep 2025 10:38:07 +0200
Subject: [spectre] CFP: Art, Protest, and the Archives of Activism (Saltaire,
 12 Nov 25)
Message-ID: <405caf36-0380-4534-915b-5cfdca190bd8@mikro.in-berlin.de>

From: Kirstie Gregory
Date: Sep 2, 2025
Subject: CFP: Art, Protest, and the Archives of Activism (Saltaire, 12 
Nov 25)

Victoria Hall, Saltaire, Henry Moore Institute, Nov 12, 2025
Deadline: Sep 15, 2025

Power for the People: Art, Protest, and the Archives of Activism.

Henry Moore Institute and Bradford 2025 UK City of Culture share a goal 
of documenting and preserving art in the public realm, exploring its 
histories and ensuring its future. This one-day conference will examine 
the role of protest and political activism in twentieth and twenty-first 
century art.

Bradford and Leeds have significant archival holdings relating to 
activist art. Henry Moore Institute is home to the Leeds’ Archive of 
Sculptor’s Papers, featuring documentation of Rose Finn-Kelcey’s Power 
For The People of 1972, as well as Neal White’s 2004 archival 
intervention The Third Campaign, which focused on the historical 
controversies around Jacob Epstein’s sculptures commissioned by the 
British Medical Association. The Archive of Sculptors Papers also hold 
extensive papers on The Unknown Political Prisoner competition 
(1951-53), as well as artists whose practices more subtly challenge 
societal conventions including Helen Chadwick, Steven Cripps and Paul Neagu.

At the University of Bradford, the Department for Peace Studies was set 
up in 1973, and around it an independent library dedicated to documents 
of social change has since developed. The University’s Special 
Collections department holds the substantial collection on Peace, 
Politics and Social Change. Amongst its many separate holdings it has 
the papers of sculptor and Quaker Barbara Bruce, artist Edith Durham’s 
‘Balkan Sketchbooks’, and Peggy Smith’s 1930s drawings of “anybody who 
came to London to talk to the government or to speak”. It also contains 
the original designs for the CND symbol, as well as other rich and 
wide-ranging collections dealing with creative approaches to protest and 
peace both in the UK and worldwide.

These collections form an archival background to more recent works by 
sculptors with varied and inventive approaches to political subjects. 
Some of today’s most celebrated contemporary artists – ranging from Ai 
Weiwei to Nan Goldin, and Jeremy Deller to Forensic Architecture – are 
known for their political content. News and social media as much as art 
galleries and public squares are now part of our highly politicised 
cultural arena. So, what role should politics play in art today? How do 
we understand the porous boundary between mass protest and art making? 
What histories are sitting underappreciated in our archives and how can 
they guide us into the future?

Topics and themes of discussion:

We invite proposals which look at archives and art practices which 
centre or challenge the notion of sculpture as protest, or protest as 
sculpture, both nationally and internationally. Suggested subjects could 
include, but are not limited to:
- Documenting the sensorial and the ephemeral.
- The aesthetics of protest
- The role of the archive for halted or unfinished public art of protest
- Protest as material or subject in public art
- The role of the collective in protest art
- Re-examining civic histories through the archive.
- Curatorial approaches to protest
- AI the digital, protest and the archive
- Case studies of particular artworks and artists
- Archiving dissident artists and artworks
- Archiving the performance of protest

Submit a proposal:

We welcome submissions from a broad spectrum of critical and creative 
practice for individual 15-minute papers or a full panel. Applicants are 
kindly asked to submit:
- a brief abstract (no more than 250 words)
- a short biographical note (100 words)

The deadline to apply is Monday 15 September 2025, 17:00

Please email your proposals to: research at henry-moore.org

If you would like to apply in another format, such as video or audio, 
this is also welcomed. Please contact research at henry-moore.org if you 
would like to discuss this.

Speakers will receive an honorarium of £100, and travel and 
accommodation costs within the UK will be reimbursed.


Reference / Quellennachweis:
CFP: Art, Protest, and the Archives of Activism (Saltaire, 12 Nov 25). 
In: ArtHist.net, Sep 2, 2025. <https://arthist.net/archive/50452>.

From mail at garyhall.info  Wed Sep  3 12:57:21 2025
From: mail at garyhall.info (Gary Hall)
Date: Wed, 3 Sep 2025 11:57:21 +0100
Subject: [spectre] Masked Media: What It Means to be Human in the Age of
 Artificial Creative Intelligence: online event, 12 Sept
Message-ID: <239aad19-c35e-421b-bec4-8d153874b327@garyhall.info>

Dear All,

Open Humanities Press is pleased to announce details of an upcoming 
online symposium based around a discussion of my new book, /Masked 
Media: What It Means to be Human in the Age of Artificial Creative 
Intelligence 
<http://www.openhumanitiespress.org/books/titles/masked-media/> 
/(London: Open Humanities Press, 2025; open access).

Friday 12th of September, 2025
9:30 – 11:30 am Mexico City
11.30-13.30 Ann Arbour
16.30-18.30 London
via Zoom

With:
Peter Baker (University of Stirling)
Alexandra Anikina (University of Southampton)
Gareth Williams (University of Michigan)
Benjamín Mayer-Foulkes (17, Instituto de Estudios Críticos)
Gabriela Méndez-Cota (Culture Machine/Universidad Iberoamericana)

Co-organised by the electronic journal Culture Machine 
<https://culturemachine.net/> and 17, Instituto de Estudios Críticos 
<https://diecisiete.org/masked-media/> in Mexico City, the event is 
hosted by the Laboratory of Contemporary Writings / Laboratorio de 
Escrituras Contemporáneas, which is being launched with this event. The 
idea for the Laboratory of Contemporary Writings emerged from a recent 
ACLA Seminar titled ‘Displacing Academic Practices in the Ruins of the 
Neoliberal University’. While linked to conversations around 
infrapolitics 
<https://culturemachine.net/vol-22-anthropocene-infrapolitics/>, its 
focus is broader: on writing, subjectivity, students, ourselves, and on 
how to respond to the conditions we’re living through today.

To join this event online, email: enlace at 17edu.org

---

On Masked Media: What It Means to be Human in the Age of Artificial 
Creative Intelligence 
<http://www.openhumanitiespress.org/books/titles/masked-media/> [open 
access]

If we want a more socially and environmentally just future, do we need a 
radical new theory of change – or to radically change theory? It’s this 
question that Gary Hall and his collaborators have been addressing for 
over twenty years with experimental publishing projects such as Open 
Humanities Press, Liquid and Living Books, Radical Open Access 
Collective, and the Culture-led Re-Commoning of Cities. Unsettling 
received ideas of the author and book, originality and copyright, real 
and artificial intelligence, these uncommon communities of 
theorist-mediums have been testing some of the ‘non-modernist-liberal’ 
modes of creating and sharing knowledge that are enabled by various 
media technologies, from writing and print through photography and video 
to computers and GenAI. By thinking outside the masked black box that 
renders the anthropocentric, Euro-Western knowledge-making practices of 
the arts and humanities invisible – ensuring the human is kept 
ontologically separate from the nonhuman, be it animals, the planet or 
algorithmic machines – they show there’s no such thing as the human, the 
nonhuman already being in(the)human.

/Masked Media /is one such experimental project. It is not a 
'human-authored' work. Instead, the thinking within it has been 
generated by a radically relational inhuman assemblage that includes AI 
and more. Although the book appears under a real name –  ‘Gary Hall’ – 
which, like Banksy and Karen Eliot, acts as a mask, it is not the 
intellectual property of a singular human individual, and is published 
under a Collective Conditions for Re-Use licence to reflect this. Masked 
Media demonstrates how such norm-critical experimentation is of vital 
importance to our understanding of everything from identity politics and 
the decolonisation of knowledge, through epistemologies of the Global 
South and the possibilities of open city infrastructure, to extractive 
capitalism, planetary destruction and the Anthropocene.

-- 
Gary Hall
Professor of Media
Centre for Postdigital Cultures, Coventry University:
https://postdigitalcultures.org/about/

Director of Open Humanities Press:http://www.openhumanitiespress.org 
Websitehttp://www.garyhall.info
Blog:http://garyhall.squarespace.com/journal/


Latest:

Book: Masked Media: What It Means to Be Human in the Age of Artificial Creative Intelligence:http://www.openhumanitiespress.org/books/titles/masked-media/

Blog post: 'The Commons vs Creative Commons III: Some Problems, Distinctions and Alternatives - Including Signals, CC's Response to AI':http://garyhall.squarespace.com/journal/2025/9/1/the-commons-vs-creative-commons-iii-some-problems-distinctio.html

























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From marcela at aksioma.org  Wed Sep  3 13:19:47 2025
From: marcela at aksioma.org (=?UTF-8?Q?Marcela_Okreti=C4=8D?=)
Date: Wed, 3 Sep 2025 13:19:47 +0200
Subject: [spectre] Are You A Software Update? A New Podcast Series
Message-ID: <CAKt7+Kq6SzunhCikYb+QiFpbQtf9NtoXEafZwxdHHpMy440UOA@mail.gmail.com>

I’d like to share with you our new podcast series.

Thanks for listening :)

Best,

Marcela



-----

Dear friends,

I'd like to share with you our new podcast series.

Thanks for listening! :)


Best,

Marcela

aksioma.org



✦ ✦ ✦


I’d like to share with you our new podcast series.

Thanks for listening :)

Best,

Marcela



-----

*Are You A Software Update?*
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=a7f04e70fb&e=b2b01b8bf8>
A New Podcast Series

With the *tactics&practice #16: Are You A Software Update?
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=f616a56c09&e=b2b01b8bf8>*
programme
we dedicated the first half of 2025 to exploring, in various languages and
formats, how software systems influence human actions, participation, and
work. To delve further into the topic, journalist and researcher *Neja
Berger* curated and hosted a new season of podcasts.


✧ ✧ ✧


When critique obsesses over hidden depths, it mirrors the very logic it
opposes, demanding revelation while overlooking the potency of the surface.
This podcast series
<https://aksioma.org/podcast/are-you-a-software-update> explores
how power might be disrupted not by digging deeper, but engaging its own
seemingly superficial terrain: weaponizing seduction in memes, Girls,
glitches, and camp; cultivating habits; deploying enchantments. Perhaps the
question isn’t whether we are due for an update, but how we might update
differently – not by feeding the recursive loops that fragment our
movements, but through the ambient transformation that unfolds in the
cracks of what is already visible.


*Ep. #1 *✧* Memes as Sympoietic Agents *→ released!
<https://aksioma.org/ayasu-ep1>
Researcher *Sophie Publig* rethinks memes as sympoietic agents, from early
image-board hoaxes to TikTok trends, angelcore aesthetics, and the academic
saga of “the girls who get it.”


*Ep. #2 *✧* The Girl’s Inhuman Arsenal* → 9 September 2025
Artist and theorist *Alex Quicho* introduces *the Girl* as a tripartite
technology of subjectivity—symbolic, consumer, and inhuman—offering
strategies for navigating planetary computation from within its blind spots.


*Ep. #3 *✧* Hexing the Algorithm* → 16 September 2025
Artist and author *Shaka McGlotten* proposes witchy tactics against
quantification: opacity, fugitivity, and computational hexes that shift us
from critique to conjure—seducing the machine off-script.


*Ep. #4 *✧* Revolution in the Minor Key* → 23 September 2025
Professor *Carolyn Pedwell* explores how subtle tendencies, affective
inhabitation, and collective habits accumulate power, building
infrastructures of care and resistance when shock and rupture fall short.


*Ep. #5 *✧ → 28 November 2025

In this episode, Neja Berger will talk to *Bogna Konior* about *The Dark
Forest Theory of the Internet*, her latest book to be released at the end
of November by Polity.


✧ ✧ ✧



This and all previous seasons are available on the Aksioma website
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=0dbdb210a4&e=b2b01b8bf8>
and
on the following podcast platforms:

Spotify
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=05df9b0652&e=b2b01b8bf8>
 | Apple Podcasts
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=40013bba41&e=b2b01b8bf8>
 | SoundCloud
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=951eefbc01&e=b2b01b8bf8>
 | YouTube Music
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=602d6085aa&e=b2b01b8bf8>



✧ ✧ ✧



Marcela Okretič
Aksioma - Institute for Contemporary Art, Ljubljana
www.aksioma.org
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From oliver.grau at mediaarthistories.org  Fri Sep  5 07:37:10 2025
From: oliver.grau at mediaarthistories.org (Oliver Grau)
Date: Fri, 5 Sep 2025 07:37:10 +0200 (CEST)
Subject: [spectre] HOTHOUSE The Future of Demonstration 5 - Programme
Message-ID: <414830287.347874.1757050630946@mailbusiness.ionos.de>

HOTHOUSE. A Renegade Lab for Democracy against Technocapitalist Authoritarianism
September 12 – October 4, 2025
Atelier Augarten, Scherzergasse 1A, 1020 Vienna, and online via livestream
thefutureofdemonstration.net/hothouse <https://thefutureofdemonstration.net/hothouse>
  
HOTHOUSE, the fifth season of the art series The Future of Demonstration by Sylvia Eckermann and Gerald Nestler, explores the political, social, and ecological implications of artificial intelligence – and asks how democratic agency can be remade under technocapitalist conditions.
  
Artificial intelligence is already a part of our everyday lives – but how can we live with it without submitting to it?
With artificial intelligence, a transformative power has emerged with massive impact on our lives. We use AI chatbots for a wide variety of purposes today – whether at work or in our free time – and often with great benefit. Yet, every promise hides a claim, and recent AI applications indicate that the promise of a more participatory, diverse and equitable world – and hence a better planetary future – veers towards a profoundly reactionary deepening of control. Shifting from AI gamification to AI weaponization, generative AI has become the new frontier of capitalist extraction. 
HOTHOUSE brings together artists, activists, practitioners and thinkers from around the world to challenge emerging AI supremacy and how it classifies, governs and even annihilates life. They participate in real time via a new technology: 3D-point cloud video sharing allows us to create a space of shared presence at Atelier Augarten, regardless of where contributors are located on Earth.
  
What does it mean to resist? How do successful counter-alliances and counter-investigations operate? What can be done to expose and resolve power schemes that abuse AI infrastructure? How do we reorient the agency of resistance against systems and agents of oppression towards insurrections that are politically and culturally adaptable and resilient (as the German term “Widerständigkeit” implies)? Unlike closed AI black box machines, human beings are capable of betraying systems and agents of oppression. 
  
Four performative-discursive live events focus on a specific aspect of the theme. They are embedded in an installation consisting of objects, animations, maps, posters, documentaries, videos, and sound. A DisintegratorPodcast special series and talks allow for deeper understanding, workshops offer practice-based interventions.
  
Contributors participate via a new collective real time-technology: 3D-point cloud live video sharing allows us to create a collaborative space of shared presence, regardless of where contributors are located on Earth. 
  
HOTHOUSE does not use AI to create art. It is not about AI aesthetics – nor about whether AI can be made “ethical” or “friendlier.” Instead, we examine what it takes to reclaim democratic agency and human rights, and counter predatory forms of domination and the inequalities they produce.
  
The Future of Demonstration is an art series by Sylvia Eckermann and Gerald Nestler that explores new forms of collective resistance and expanded ways of perceiving the world. Its postdisciplinary format combines exhibition, discourse, performance and documentation, bringing together artistic, technological, political and social practices in a participatory way.
  
HOTHOUSE is produced in cooperation with the Heinrich Böll Foundation – Global Unit for Human Security, Tactical Tech, Berlin; and the Lisbon Architecture Triennale. Participating groups and initiatives includeadO/Aptive (Vienna), Disintegrator Podcast (Online), Forensic Architecture / Centre for Research Architecture (London), Stop Killer Robots Coalition (Global), Technopolitics (Vienna), Territorial Agency (London). 
  
Contributors: https://thefutureofdemonstration.net/hothouse/programme.html
  
Programme: https://thefutureofdemonstration.net/hothouse/credits.html
  
thefutureofdemonstration.net/hothouse <http://thefutureofdemonstration.net/hothouse> 
  


______________________
TIM.theories in mindpostdigital art clubgene at theoriesinmind.netwww.theoriesinmind.netwww.thefutureofdemonstration.netNeulinggasse 9/VI
A-1030 Wien
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From oliver.grau at mediaarthistories.org  Sat Sep  6 09:18:06 2025
From: oliver.grau at mediaarthistories.org (oliver.grau at mediaarthistories.org)
Date: Sat, 6 Sep 2025 09:18:06 +0200
Subject: [spectre] HOTHOUSE. A Renegade Lab for Democracy against
 Technocapitalist Authoritarianism, Vienna 12.9.-4.10.
Message-ID: <05f601dc1efe$6498e360$2dcaaa20$@mediaarthistories.org>

HOTHOUSE. A Renegade Lab for Democracy against Technocapitalist
Authoritarianism

September 12  October 4, 2025

Atelier Augarten, Scherzergasse 1A, 1020 Vienna, and online via livestream

thefutureofdemonstration.net/hothouse

HOTHOUSE, the fifth season of the art series The Future of Demonstration by
Sylvia Eckermann and Gerald Nestler, explores the political, social, and
ecological implications of artificial intelligence  and asks how democratic
agency can be remade under technocapitalist conditions.

Artificial intelligence is already a part of our everyday lives  but how
can we live with it without submitting to it?

With artificial intelligence, a transformative power has emerged with
massive impact on our lives. We use AI chatbots for a wide variety of
purposes today  whether at work or in our free time  and often with great
benefit. Yet, every promise hides a claim, and recent AI applications
indicate that the promise of a more participatory, diverse and equitable
world  and hence a better planetary future  veers towards a profoundly
reactionary deepening of control. Shifting from AI gamification to AI
weaponization, generative AI has become the new frontier of capitalist
extraction. 

 

HOTHOUSE brings together artists, activists, practitioners and thinkers from
around the world to challenge emerging AI supremacy and how it classifies,
governs and even annihilates life. They participate in real time via a new
technology: 3D-point cloud video sharing allows us to create a space of
shared presence at Atelier Augarten, regardless of where contributors are
located on Earth.

What does it mean to resist? How do successful counter-alliances and
counter-investigations operate? What can be done to expose and resolve power
schemes that abuse AI infrastructure? How do we reorient the agency of
resistance against systems and agents of oppression towards insurrections
that are politically and culturally adaptable and resilient (as the German
term Widerständigkeit implies)? Unlike closed AI black box machines, human
beings are capable of betraying systems and agents of oppression. 

 

Four performative-discursive live events focus on a specific aspect of the
theme. They are embedded in an installation consisting of objects,
animations, maps, posters, documentaries, videos, and sound. A Disintegrator
Podcast special series and talks allow for deeper understanding, workshops
offer practice-based interventions.

Contributors participate via a new collective real time-technology: 3D-point
cloud live video sharing allows us to create a collaborative space of shared
presence, regardless of where contributors are located on Earth. 

 

HOTHOUSE does not use AI to create art. It is not about AI aesthetics  nor
about whether AI can be made ethical or friendlier. Instead, we examine
what it takes to reclaim democratic agency and human rights, and counter
predatory forms of domination and the inequalities they produce.

The Future of Demonstration is an art series by Sylvia Eckermann and Gerald
Nestler that explores new forms of collective resistance and expanded ways
of perceiving the world. Its postdisciplinary format combines exhibition,
discourse, performance and documentation, bringing together artistic,
technological, political and social practices in a participatory way.

HOTHOUSE is produced in cooperation with the Heinrich Böll Foundation 
Global Unit for Human Security, Tactical Tech, Berlin; and the Lisbon
Architecture Triennale. Participating groups and initiatives include
adO/Aptive (Vienna), Disintegrator Podcast (Online), Forensic Architecture /
Centre for Research Architecture (London), Stop Killer Robots Coalition
(Global), Technopolitics (Vienna), Territorial Agency (London). 

 

Contributors: https://thefutureofdemonstration.net/hothouse/programme.html

Programme: https://thefutureofdemonstration.net/hothouse/credits.html

thefutureofdemonstration.net/hothouse 

______________________

TIM.theories in mind

postdigital art club

gene at theoriesinmind.net

www.theoriesinmind.net

www.thefutureofdemonstration.net

Neulinggasse 9/VI

A-1030 Wien

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From alex at slab.org  Sat Sep  6 11:40:38 2025
From: alex at slab.org (Alex McLean)
Date: Sat, 06 Sep 2025 10:40:38 +0100
Subject: [spectre] Alpaca 2025 - Algorithmic Patterns in the Creative Arts,
 12-20th September 2025
Message-ID: <1cf87f72-b74a-4b0a-bc06-f362cb3ca1e5@app.fastmail.com>

*Alpaca conference 2025*
12-20th September 2025 (with additional workshop 4th October)
Free and open access, pre-booking required.
Online and in Barcelona, Berlin, Linz and Sheffield
https://2025.algorithmicpattern.org/conference/

Alpaca conference 2025 is an on-line accessible event exploring algorithmic patterns in the creative arts, including procedures for making, material behaviours, and pattern culture across choreography, textiles, juggling, visual art and music. It brings both heritage and contemporary algorithms together, with human-centric perspectives that look beyond over-hyped technologies.

For full information and free registration, see https://2025.algorithmicpattern.org/conference/

*The conference overlaps with Alpaca festival in Sheffield UK, hosting an additional in-person music and workshop programme. This email focusses on the conference, but for more details on the festival see *
*https://2025.algorithmicpattern.org/sheffield/*

Overview:

*Online workshops:*
    Two workshops. Free pre-booking required.
 • 17th Sept -* Revisiting Locus: Choreographing patterns through points in space* - Kate Sicchio
 • 18th Sept -* Introduction to the qiudanz technique: computational transformation of minimalist movement sequences* – sejo vega and mel*
 • 4th Oct -* Flip, Rotate, Repeat: Remixing weave drafts through pattern play* – Etta Sandry

*Conference sessions*
36 diverse presentations exploring the conference themes.
Free pre-booking required, whether joining online, or at one of the conference hubs/'watch parties'.
*12th and 13th Sept* - hosted as part of the Alpaca Festival in Sheffield UK, streamed on-line.
*19th and 20th Sept* - focussed online, with 'watch parties'/hubs in Axolot Barcelona, UdK Berlin, Servus Linz and Pattern Club Sheffield.

*Conference talks:*
 • *Techniques for livecoding complex 3D printing patterns* - Evan Raskob
 • *Algorithmic Patterns in Magnetic Resonance Imaging* - Mags Tavener
 • *Fragmented Music - Procedures, Behaviours, and Culture from A record without prior acoustic information (2012-)* - JO Kazuhiro
 • *The Unrepeating-Repeat: A Pattern Logic of Variation, Translation, and Perceptual Shift* - Danica Maier
 • *How a hacked 70s knitting machine became a participant in our lab on weaving sustainable digital future stories* - Mario Angst
 • *An art practice using infrastructure and other systems to create infinitely repeating patterns* - Paul Hallows
 • *Entangled Rituals: Visualizing Chance Through Quantum Algorithms* - Agoston Nagy
 • *Binary trimmings and light-up loops: representing binary numbers with e-textiles and the heritage textile craft of passementerie* - Jessica Stanley
 • *An exploration of the mathematics behind juggling* - Mees Jager
 • *Flitter: A declarative language for structured visuals* - Jonathan Hogg
 • *Tabla to Drumset: Translating Rhythmic Language* - Shreya Gupta
 • *Olio* - Sarah GHP
 • *Kolams, Code, Cultures - Towards a universal pattern language* - Lavannya Suressh
 • *Pastagang: Jamming together far apart *- Pastagang
 • *Count your Chickens – Pattern generation as a matter of counting* - Rocco Lorenzo Modugno, Amedeo Bonini, Marco Buiani
 • *Overtonic Pattern Notation Inside Cross-Cultural Feedback Loops* - Saydyko Fedorova-South
 • *Reflections on London Pattern Club* - James Walker
 • *Encoding and Experimenting with Vernacular Quilt Patterns* - Lee Tusman
 • *3D Patterning in the Cosmoscope* - Nick Rothwell
 • *Steganography within textile* - Bérénice Gaça Courtin
 • *Algorithmic Archaeology of Folk Motifs: Nature, Code, and Cultural Memory* - Nicu Popescu
 • *Arche-Scriptures: Ceramics as a Speculative Medium for Digital Memory* - Alberto Harres
 • *TTT2: The Woven Skin — Coding and Signifying Through a (Proto) Writing (From a Constellation of Language-s)* - Maria Jose Rios Araya
 • *Talavera de Luz - Renovación de nuestra Herencia* - Leon Eckard
 • *Patterns in Inflected Julia Sets* - Claude Heiland-Allen
 • *Thinking About Fractals (Fabric is Fractal)* - Patricia Bentley
 • *Algorithmic Two-Step* - Stuart Smith
 • *Printed Patterns* - Blair Subbaraman
 • *Taking Inspiration from Biochemistry: Small Things with Small Forces forming Complex Patterns* - Kristin Henry
 • *Pulse, Pattern, Permutation: Applying Schillinger’s Pulse Interference in Computer-Assisted Composition* - David Chechelashvili, Alan Brown
 • *Multi-directional pattern repeats – an alternative method for pattern repetition* - Tonje Kristensen Johnstone
 • *MultiWeave. Knight’s Tour and Other Sources of Inspiration* - Kadi Pajupuu
 • *Keynote: Endosymbiotic Computation – Unlearning Alpaca and Why Dissipation is Key..* - Shintaro Miyazaki
 • *pSine waves: introducing Lp-Spaces for Sound and Graphics* - Sol Sarratea
 • *Algorithmic Knitting Design: Integrating algorithmic computing, fashion design and handknitting* - Stephanie Pan
 • *An Electromagnetic Pattern Journey* - Gábor Ugray

I hope you can join us!
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From gabriel.menotti at gmail.com  Mon Sep  8 22:04:20 2025
From: gabriel.menotti at gmail.com (Gabriel Menotti)
Date: Mon, 8 Sep 2025 16:04:20 -0400
Subject: [spectre] =?utf-8?q?Barbarian_Currents=3A_launches_in_Ontario_and?=
	=?utf-8?q?_Montr=C3=A9al_=28Sep_18-22=29?=
Message-ID: <CAG=4eDSyFi2VeQU7e9gj7FrJgTzrveJtDFzPr4FEvmRTK+5ddw@mail.gmail.com>

Dear all,

I'm very happy to invite you to a series of launches of the anthology
BARBARIAN CURRENTS: HALF A CENTURY OF BRAZILIAN MEDIA ARTS, to take place
in the upcoming weeks in Canada.

Barbarian Currents is a pioneering anthology that covers half a century of
Brazilian media arts through a sociological lens, examining the many
intriguing circumstances that have shaped new forms of cultural and
artistic expression. The chapters, most of which have been translated into
English for the first time, remind us that ‘alternative’ art histories are
simply the flipside of dominant narratives. They encourage us to look
beyond the lens of Western exceptionalism and reframe our understanding of
cultural histories worldwide.

Book is open access and can be downloaded here:
https://www.openhumanitiespress.org/books/titles/barbarian-currents

But please come for a panel with editors Gabriel Menotti and German Alfonso
Nunez and a screening program featuring pioneering videos made at
University of São Paulo’s Contemporary Art Museum in the 1970s and
documentaries about Brazilian tactical media from the early 2000s by Lucas
Bambozzi.

Times and dates:

- Toronto: Sep 18 at InterAccess (32 Lisgar St), 6.30pm
- Kingston: Sep 19 at the Isabel Bader Center (390 King St W), 1pm
- Montréal: Sep 22 at Concordia GEM Lab (1250 Rue Guy), 5.30pm

These activities are supported by the Social Sciences and Humanities
Research Council, FAPESP, and Queen’s University.

Best!
Menotti
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From ab at mikro.in-berlin.de  Fri Sep 12 06:47:53 2025
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Fri, 12 Sep 2025 06:47:53 +0200
Subject: [spectre] CONF: React & Respond. Image Cultures under Platform
 Capitalism (Zurich, 2-4 Oct 24)
Message-ID: <8f8ad973-47a2-4fcc-bda2-650837d8f519@mikro.in-berlin.de>

From: Roland Meyer
Date: Sep 11, 2025
Subject: CONF: React & Respond. Image Cultures under Platform Capitalism 
(Zurich, 2-4 Oct 24)

Zurich, Oct 2–04, 2025

Contemporary networked image cultures cannot be understood outside of 
platform capitalism. Today, the production, distribution and reception 
of visual media is largely managed and controlled by the algorithmic 
infrastructures, corporate policies and business models of digital 
platforms. At the heart of platform architectures is the quantification, 
evaluation and monetization of reactions – whatever we encounter online 
is designed to trigger our reactions, and our reaction patterns in turn 
drive the visual economies of platform capitalism. With algorithmically 
curated feeds and personalized content, what we get to see online and 
how we react to it is inextricably linked in ways we can often only 
speculate about.

Bringing together scholars and artists from a range of fields and 
backgrounds, the international conference «React & Respond» aims to map 
and analyze these contemporary economies of networked image cultures and 
their aesthetic, ideological and political implications.
The conference is organized by the DIZH Bridge Professorship Digital 
Cultures and Arts at the University of Zurich and the Zurich University 
of the Arts in cooperation with Fotomuseum Winterthur, Kino Xenix and 
Zentrum Künste und Kulturtheorie (ZKK).

Following an opening night with a screening at Kino Xenix on Thursday, 
October 2nd, the conference will continue on Friday, October 3rd, at 
Cabaret Voltaire and conclude on Saturday, October 4th, at the 
Fotomuseum Winterthur.

The conference is open to all interested guests, but places are limited. 
We therefore kindly ask you to register at https://luma.com/9wd029dm

CONFERENCE PROGRAM

October 2, 2025 – Opening Evening Kino Xenix Bar, Kanzleistrasse 52, 
8004 Zürich

18:30 - 20:15 Apéro & Arrival

20:15 - 21:45 Platform Realities – Screening Night (Their Eyes / xena's 
body) with Nicolas Gourault, Occitane Lacurie
Two short films show how digital platforms govern everyday life – from 
the subtle surveillance of one’s own body to precarious data work in the 
Global South. Xena’s Body (2024) by Occitane Lacurie uses the example of 
period tracking apps to show how intimate interaction with the 
continuous stream of images and data on smartphones exposes the female* 
body to a largely invisible form of surveillance. Their Eyes (2025) by 
Nicolas Gourault shows the often invisible, precarious work of data 
workers in the Global South, who are tasked with making the visible 
world readable for AI pattern recognition by classifying and annotating 
vast amounts of digital images. In the accompanying discussion, the 
filmmakers will consider how film can be used to convey realities whose 
experience is increasingly mediated, filtered, and controlled by digital 
interfaces and algorithmic pattern recognition.

––––

October 3, 2025 – Day 1
Cabaret Voltaire, Spiegelgasse 1, 8001 Zürich

09:30 - 10:00 Coffee & Arrival

10:00 - 10:30 Introduction to the Conference

10:30 - 12:30 Platform Aesthetics and Meme Politics
with Annekathrin Kohout, Simon Strick, Valentina Tanni
Moderation: Kathrin Trattner
Networked image production is increasingly defined by escalating chains 
of reaction in which images are made to react to other images, comment 
on each other, and express affects and attitudes towards what we see 
online. With the proliferation of AI-generated media, optimised to 
trigger user interactions and reactions, aesthetic preferences and 
ideological expectations of potential consumers are reinforced and 
automated. By considering how memes, emojis, reaction GIFs and video 
responses turn reactions into a mode of content production, the panel 
navigates the politics of content under platform capitalism.

12:30 - 14:00 Lunch Break

14:00 - 16:00 Patterns of Automation
with Ranjodh Singh Dhaliwal, Felix Stalder, Tiziana Terranova
Moderation: Roland Meyer
By which means do platform architectures foster and accelerate the 
increasing automation of online content production? The panel zooms out 
to the infrastructural and economic conditions which determine our 
contemporary networked images cultures. Quantifiable reactions are not 
only constantly tracked, aggregated and monetized by online platforms, 
but also predicted, premediated and transformed into exploitable 
behavioral data on a massive scale. How are users and consumers 
integrated into the feedback loops of value creation, and what forms of 
social production provide the basis for today's reaction economies?

16:00 - 16:30 Coffee Break

16:30 - 18:30 Training Rounds & Testing Grounds
with Adio Dinika, Ariana Dongus, Phil Jones
Moderation: Lars Pinkwart
In the context of generative AI, there is always a «human in the loop» – 
but one that is often invisibilized and exploited. The panel considers 
the global conditions of labour that underly platform capitalism, the 
practices and techniques of reacting to images performed by data 
workers, and the challenging conditions of this kind of work, which is 
often devalued as mere «clickwork». How can we respond to these 
conditions, and how can data workers reclaim discursive power in regards 
to the data practices of platforms?

––––

October 4, 2025 – Day 2
Fotomuseum Winterthur, Grüzenstrasse 44-45, 8400 Winterthur

09:40- 10:00 Coffee & Arrival

10:00 - 12:30 Aesthetic Responses
with Sara Bezovšek, Marie-France Rafael, Noura Tafeche
Moderation: Marco De Mutiis

What is the potential of artistic interventions in response to the 
conditions of platform capitalism? Engaging with the works of Noura 
Tafeche and Sara Bezovšek in the exhibition «The Lure of the Image», the 
panel approaches the way arts-based methodologies critically mobilise 
and re-appropriate the image worlds and aesthetics of platform 
capitalism, playing off and subverting the mechanisms of our 
contemporary reaction economies.

12:30 - 14:00 Lunch Break

14:00 - 15:00 Guided Tour «The Lure of the Image» with Marco De Mutiis


Reference / Quellennachweis:
CONF: React & Respond. Image Cultures under Platform Capitalism (Zurich, 
2-4 Oct 24). In: ArtHist.net, Sep 11, 2025. 
<https://arthist.net/archive/50541>.

From tbazz at disruptiv.biz  Fri Sep 12 13:28:27 2025
From: tbazz at disruptiv.biz (Tatiana Bazzichelli)
Date: Fri, 12 Sep 2025 13:28:27 +0200
Subject: [spectre] =?utf-8?q?TECHNOVIOLENCE=3A_Confronting_Systematic_Inju?=
 =?utf-8?b?c3RpY2UsIFNlcHQgMTnigJMyMSwgQmVybGlu?=
Message-ID: <68c8f82b-fac1-4ff5-9b78-2a6573edd6fd@disruptiv.biz>

Dear Spectre List,

I would like to invite you to our next conference, Technoviolence: 
Confronting Systematic Injustice, happening on Sept 19–21 2025 at Studio 
1, Kunstquartier Bethanien (Berlin) and on streaming:
https://www.disruptionlab.org/technoviolence

TECHNOVIOLENCE brings whistleblowers, artists, journalists and 
technologists together to expose how war surveillance, migration 
management and state oppression are shaped by invisible, digital forces. 
Featuring revealing insights from former FBI agent and whistleblower 
Terry Albury and tech policy advocate Ifeoma Ozoma, the conference 
investigates the role of AI, border technologies, algorithmic policing, 
and digital fascism in deepening global injustices. This event explores 
how artistic resistance and investigative practice can generate new 
forms of evidence, visibility, and accountability.

# PROGRAMME

## Fri 19.9

KEYNOTE · 16:40–18:00
Breaking the Code of Silence: From Whistleblowing to Systemic Change in Tech

Ifeoma Ozoma, Director of Technology Policy at the Kapor Centre and 
co-sponsor of California’s Silenced No More Act, delivers a powerful 
keynote on how legal tools like nondisclosure agreements enable 
discrimination and silence tech workers. Known for blowing the whistle 
on racism and sexism at Pinterest, Ozoma has since transformed personal 
resistance into systemic reform. Her keynote unveils how tech 
corporations weaponise secrecy and how workers can fight back through 
legislative action, financial leverage and collective organising.
https://www.disruptionlab.org/technoviolence#breaking-the-code

18:30–18:45 · On Platform Brutality: A Preliminary Book Launch

Geert Lovink will present his new book, Platform Brutality, coming out 
late September (Valiz, 2025). It is third part of a triptych after the 
books Sad by Design (2019) and Stuck on the Platform (2022). After 
decade of docile facilitation and sneaky extractivism Silicon Valley is 
now showing its ugly face. This is not only initiated by Trump II but 
also coincides with the overall stagnation and regression in terms of 
social media usage. Platform Brutality is a scathing diagnosis of our 
digital condition in the aftermath of COVID, grappling with a world 
overwhelmed by platform decay, social media addiction, and a psychic toll.
https://www.disruptionlab.org/technoviolence#platform-brutality

PANEL · 18:45–20:45 · Dismantling the Algorithmic Gaze

Heba Y. Amin, Ghost Agency co-founders Anni Garza and Gro Sarauw, and 
activist Jennifer Kamau analyse how forms of algorithmic and 
technological control are emerging at borders, in militarised contexts 
and in urban environments, spanning examples from Germany to Mexico and 
North Africa. The panel also discusses how we can imagine forms of 
resistance and empowerment based on social justice, using opacity as a 
means of resistance, as well as technological tools and collective 
action to counter epidemic violence. Moderated by Geert Lovink.
https://www.disruptionlab.org/technoviolence#dismantling

## Sat 20.9

PANEL · 16:00-18:15
Exploited, Extracted, Erased: The Global Logic of Big Tech

Rima Sghaier, Sarah Ciston, Lya Cuéllar and Safa Ghnaim, trace the 
systemic and extractive logic of Big Tech, examining how today’s digital 
infrastructures are weaponised against vulnerable communities. Topics 
include AI systems accelerating warfare, targeting campaigns on social 
media, erasing Palestinian voices, building techno-colonialist utopias 
in Central America and exploiting workers in the Democratic Republic of 
the Congo. Speakers unpack the intersections between digital repression, 
xenophobia, and platform complicity, while offering critical tools for 
understanding and resisting technoviolence in its many forms. Moderated 
by Nil Uzun.
https://www.disruptionlab.org/technoviolence#exploited

KEYNOTE · 18:45–20:30
Secrecy, Surveillance & Grassroots Resistance

With FBI Whistleblower Terry Albury & investigative Journalist Lynzy 
Billing.
Terry Albury, a former FBI counterterrorism agent whose leaks revealed 
systemic racial profiling and surveillance tactics, will speak publicly 
outside of the U.S. for the first time. Lynzy Billing a British 
photojournalist and filmmaker of Afghan-Pakistani origins whose 
Emmy-winning animated documentary "The Night Doctrine" exposes the human 
toll of CIA-backed night raids in Afghanistan, offers an equally 
compelling contrasting lens.
They map the intersection of secrecy, state violence, and grassroots 
work, showing how insider courage and deeply personal reporting can 
disrupt entrenched systems of digital and real-world oppression.
https://www.disruptionlab.org/technoviolence#secrecy

## Sun 21.9

WORKSHOP · 14:00–17:00
Weaving Resistance in the Age of Digi-tal Fascism & Tech Oligarchy

Digital rights advocate Rima Sghaier leads a hands-on workshop 
confronting digital fascism and platform-enabled repression. 
Participants will trace online harassment campaigns, especially in the 
SWANA region, and explore how Big Tech fuels technoviolence against 
marginalised groups. Centering those most excluded by digital systems, 
the session offers tools to reclaim visibility and imagine collective 
resistance.
https://www.disruptionlab.org/technoviolence#workshop

TICKETS:
https://tickets.disruptionlab.org/technoviolence/

More info:
https://www.disruptionlab.org/technoviolence
-- 
Tatiana Bazzichelli // Artistic Director
Disruption Network Lab
https://www.disruptionlab.org/
E-mail for personal messages: tbazz(at)disruptionlab.org
Twitter: @disruptberlin // @t_bazz
Fingerprint: A87C 3637 03ED 1D1C E6FE E828 1F55 2B2F F5A5 C9A0

From jg at monochrom.at  Fri Sep 12 13:38:35 2025
From: jg at monochrom.at (J. Grenzfurthner [Das Ende der Nahrungskette])
Date: Fri, 12 Sep 2025 13:38:35 +0200
Subject: [spectre] Hacking at Leaves (online release)
Message-ID: <20250912113838.3EB533500191@mail.monochrom.at>

Hey folks!

My film Hacking at Leaves is now free to watch on the wonderful 
Internet Archive (hi-res download included). After too many 
conversations with risk-averse distributors, I decided to take the 
open route -- free for all, everywhere.

https://www.monochrom.at/hacking-at-leaves/

Summary:
Hacking at Leaves documents artist and hazmat-suit aficionado 
Johannes Grenzfurthner as he attempts to come to terms with the 
United States' colonial past, Navajo tribal history, and the hacker 
movement. The story hones in on a small tinker space in Durango, 
Colorado, that made significant contributions to worldwide COVID 
relief efforts. But things go awry when Uncle Sam interferes with the 
film's production.

All the best
Johannes  


From paul at paul-brown.com  Mon Sep 15 21:05:08 2025
From: paul at paul-brown.com (Paul Brown)
Date: Tue, 16 Sep 2025 05:05:08 +1000
Subject: [spectre] [CAS] October Talk:  Gary Hall, Liquidate AI Art
Message-ID: <BD0BC47A-458F-4C5D-94A2-239AAB2E2408@paul-brown.com>

The Computer Arts Society 2025 programme continues

Liquidate AI Art

Speaker: Gary Hall; Moderator: Sean Clark
18:00 BST, Wednesday, 15 October 2025
Other time zones here:  https://www.timeanddate.com <https://www.timeanddate.com/> 

This event is via Zoom only.  Booking essential - link below.

This talk expands on my recent book Masked Media: What It Means to be Human in the Age of Artificial Creative Intelligence <https://www.openhumanitiespress.org/books/titles/masked-media/>. It argues for liquidating AI art, not out of a dismissal of artificial intelligence as techno-fascist <https://berlinergazette.de/resisting-the-techno-fascist-takeover-are-we-ready-for-decomputing/>, nihilist <https://davidgolumbia.medium.com/chatgpt-should-not-exist-aab0867abace> or parrot-like <https://dl.acm.org/doi/pdf/10.1145/3442188.3445922>, but an insistence that art has always been created by assemblages of humans and nonhumans. There is no pure, authentic human creativity to distinguish from works generated with technologies like Stable Diffusion. 

The talk references the International Coalition for the Liquidation of Art – whose members included Gustav Metzger, first editor of the CAS bulletin PAGE – and especially Frieder Nake’s assertion in PAGE 18 that ‘there should be no computer art <https://computer-arts-society.com/exhibitions/listen-scoundrels/listen-scoundrels.pdf>’. For Nake, art should not be divided into commodifiable styles based on the tools used, but should instead function as a radical force capable of disrupting the hierarchies of the bourgeois art world. 

Picking up on this challenge, ‘Liquidate AI Art’ shows how UK arts funding today overwhelmingly benefits upper- and middle-class, privately educated Oxbridge graduates. Efforts to promote inclusion through social mobility risk reinforcing this unjust system. What’s needed is a redistribution of resources – e.g. through the liquidation of the UK’s copyright regime – to support radically different artistic practices beyond the white, male, middle-class, liberal humanist norm. 

Gary Hall is a media philosopher experimenting with new ways of working as a non-legacy critical theorist within today's ‘techno-environmental-war complex’. He is Professor of Media <https://pureportal.coventry.ac.uk/en/persons/gary-hall> at Coventry University and founding co-director of the Centre for Postdigital Cultures <http://www.coventry.ac.uk/research/areas-of-research/postdigital-cultures/>. His books include: Masked Media: What It Means To Be Human in the Age of Artificial Creative Intelligence <http://www.openhumanitiespress.org/books/titles/masked-media/> (explicitly co-written with a radically relational assemblage of humans and nonhumans, including AI); A Stubborn Fury: How Writing Works In Elitist Britain <http://www.openhumanitiespress.org/books/titles/a-stubborn-fury/>; and Pirate Philosophy <https://mitpress.mit.edu/9780262034401/pirate-philosophy/>. He is also co-founder of the open-access journal Culture Machine <http://www.culturemachine.net/> and publisher Open Humanities Press <http://openhumanitiespress.org/>

The event will be recorded and uploaded to the CAS YouTube Channel.

This event is via Zoom only and open to the public and is free but you must book your place here:   https://ComputerArtsSociety151025.eventbrite.co.uk <https://computerartssociety151025.eventbrite.co.uk/>
___________________________________

Our next meeting will feature a talk by Anika Meier on Wednesday, 19 November 2025, via Zoom.
You can see our future programme here: https://computer-arts-society.com/events/index.html


From info at rybn.org  Tue Sep 16 11:48:13 2025
From: info at rybn.org (rybn)
Date: Tue, 16 Sep 2025 11:48:13 +0200
Subject: [spectre] =?utf-8?q?=28=28=28_Bruit_Alien=2C_The_sounds_of_the_al?=
 =?utf-8?q?ienocene_=29=29=29_-_=E2=88=8FNode=2C_2025_Sep_12-28?=
Message-ID: <e037bd7a-4039-4212-b167-7fee02c6a1b7@rybn.org>

Dear Specters


(((( Bruit Alien, The sounds of the centralienne ))))
.. url https://p-node.org/alien
.. flux http://stream.p-node.org/alien.mp3

-

A continuous sound stream in constant expansion, Bruit Alien is created 
and recreated through aggregates, collisions, and re-emissions. By 
colliding layers of inhuman sounds, noises between signals, echoes of 
cosmic and a-acosmic caresses, rumblings from the depths of the earth, 
clamor from the stars, whispers from the cosmic microwave background, 
waves from meteors, and post-Copernican discussions, Bruit Alien 
interprets Frédéric Neyrat's concept of the Alienocene on the radio and 
from multiple perspectives.

https://alienocene.com/

During the INTERFERENCE_S #5 festival, from September 12 to 28, ∏Node, 
at the invitation of the CWB, will be curating a continuous sound stream 
entitled "Bruit Alien, les sons de l'aliénocène" (Alien Noise, the 
Sounds of the Alienocene) throughout the duration of the festival.

https://cwb.fr/agenda/interference-s-5-festival-de-substrat-sonore

&&

Call for contributions:

This stream is open to audio contributions that echo the Alienocene 
journal and the wide spectrum of ideas it explores: the cosmological, 
the strange, the inhuman, the unspeakable, the alien...

The stream will agglomerate and mix the sounds with each other, thereby 
altering them.

To contribute, please send us a file in mp3 format (320bps, 48kHz, 
stereo) with the metadata filled in (artist name, song title, year, no 
special characters).

More :
https://p-node.org/alien


From oliver.grau at mediaarthistories.org  Tue Sep 16 19:59:36 2025
From: oliver.grau at mediaarthistories.org (Oliver Grau)
Date: Tue, 16 Sep 2025 19:59:36 +0200 (CEST)
Subject: [spectre] HOTHOUSE The Future of Demonstration Programme
Message-ID: <1574552108.478288.1758045576292@mailbusiness.ionos.de>

HOTHOUSE. The Future of Demonstration. Season 5
12.09.-04.10. Atelier Augarten Vienna and livestream 
https://www.thefutureofdemonstration.net/hothouse/ 
  
  
WEEK 2 
Wednesday, 17 SEPTEMBER 3:30-6 pm Workshop 
“Mapping AI: Tools and Spatial Techniques for Investigating Algorithms” 
Júlia Nueno Guitart, Forensic Architecture / Centre for Research Architecture, Goldsmiths, London 
  
Thursday, 18 SEPTEMBER 7–9 pm 
“THE ART OF COMPOSITION. Collaborative investigations against weaponized AI.”  
Performative-discursive art project.  
Livestream: https://www.thefutureofdemonstration.net/hothouse/stream/  
  
Saturday, 20 SEPTEMBER 4:30–6:30 pm  
“glO/Assary Session 2.” Discourse group convened by adO/Aptive. With Martin Eichler  
  
Saturday, 20 SEPTEMBER 7–9 pm 
Technopolitics Evening “Undisciplined Intelligence” (in German) 
“Too blind to see. Über Datenkolonialismus, AI und (anti-)imperiale Intelligenzen.” 
Anna Echterhölter University of Vienna 
Präsentation und Gespräch mit Emma Dowling Universität Wien und Felix Stalder Zürcher Hochschule der Künste. 
______ 
  
THU 18. SEP 7–9 pm: 
  THE ART OF COMPOSITIONCollaborative investigations against weaponized AI.  
Performative-discursive art project.  
  
With: Júlia Nueno Guitart, Forensic Architecture.  
Rebecca Mignot-Mahdavi, Dimitri van den Meersche, Interest Group on International Law and Technology (ESIL).  
Marit Seyer and worldwide members of the Stop Killer Robots Coalition: Salena Barry UK, Illés Katona Hungary, Yanitra Kumaragurup Sri Lanka, Omar Mboob Gambia.  
MC: Siavash Eshghi, Heinrich Boell Foundation. 
  
Performance: Daphna Horenczyk. Soundscape: Brando Zores Szely.  
Special appearance: Soulcat. 
The Tribunalistic Ritual by Gerald Nestler. Ballon Sculptures by Sylvia Eckermann. Music by Volkmar Klien performed by countertenor Dan Brittain and Choir Kördelör.  
  
More: https://www.thefutureofdemonstration.net/hothouse/programme.html#18  
  
AI has entered the realm of armed conflict. Behind the glossy PR about how AI facilitates and simplifies our lives, and businesses, darker experiments are under way. They happen in front of our eyes, yet we cannot see them. What is being initiated is a shift from AI gamification to AI weaponization.  
  
Together with our expert collaborators, we ask: What does it take to resist abuses of power that are escalated to the scale of populations and nation states? How can counter-investigations and counter-alliances operate in order to successfully expose the use of AI models and infrastructures in conflicts?  
  
Conflict resolution is replaced by armed conflict loaded with AI. Even games are not just for fun: besides their gamification – the integration of game-design elements to motivate and engage users – their deeper layers can conceal instructions for war and other atrocities, be they military or terrorist. Ever more people, and other beings, are victims of yet another contingency, another assault, another crime against life. Unwittingly or brazenly, social and other media reinforce such sociopathic tendencies. 
  
AI weaponization has become a global issue, as our partner, the Stop Killer Robot Coalition can testify. AI-supported repression by governmental, military, and corporate forces is directed against both individuals as well as entire populations, including a state’s own citizens, as research in human rights and international law shows. In some cases, AI has already been weaponized to extremely worrying degrees, as investigations, such as those of Forensic Architecture, into cases of individuated mass killings and genocide prove. 
  
But even when we cannot see how AI is made to operate, there are ways to uncover and visualize it. Indeed, evidence-based investigations are the basis of public knowledge in non-transparent contexts. As such, counter-investigative alliances are necessary means to challenge powers that manipulate, exclude and even eliminate people. 
  
Regardless of one’s political beliefs or ideological leanings, the notion that AI is on the verge (or may have already crossed the threshold) of making life-and-death decisions without human oversight should be profoundly unsettling to anyone still committed to rational and humane solutions to conflicts. This would stand in stark contrast to the transhumanist visions of unfettered control, where technological elites steer society toward a corporate-driven future governed by anarcho-authoritarian ideals. 
  
AI weaponization must be countered with all the means available to a democratic society. We must finally realise how powerful we are if we act together and use our institutions properly. No one is above the law, including machines.  
______ 
Presentations: 
  
Technolegal Machineries: Law’s Grammar of Violence and Harm’s Invisibilization.  
Rebecca Mignot-Mahdavi and Dimitri van den Meersche, Interest Group on International Law and Technology (ESIL) 
  
This presentation examines law as an internal component of technolegal machineries comprising drones, AI-enabled battlefield systems, biometric infrastructures, and risk-based classificatory tools. Within these assemblages, legal categories, evidentiary thresholds, and operational protocols crystallise together with sensors, data flows, and algorithmic models to translate heterogeneous lives and environments into calculable targets, tolerable collateral damage, and administrable fragments. We will explore how the law, as well as juridified computation, facilitates scalable, modular violence while obscuring cumulative harms. The second part of the talk explores tactics for resistance: generating counter-lexicons, reconfiguring evidentiary standards, and cultivating insurgent jurisprudential practices that reattach law to lived suffering. We experiment law's re-grammaring—expanding the perceptual field so that presently invisible harms become legally cognisable and politically actionable. If the machinery currently narrows perception to what is metrically convenient, a renewed legal grammar may widen the aperture through which harm is seen, named, and contested.  
______ 
Individuated Mass Killing: A counter-forensics of computational violence in Gaza. 
Júlia Nueno Guitart, Forensic Architecture 
  
Through the collective work with Forensic Architecture for the genocide case brought by South Africa against Israel at the International Court of Justice, Júlia Nueno Guitart interrogates how genocide is structured through computational systems. This intervention centres on Gaza, examining how AI-guided targeting, evacuation orders, and biometric checkpoints fragment life into data points—triggering violence that radiates outward and erodes the conditions for life. These technologies, often described as precise or neutral, instead enable scalable and repeatable harm. The intervention proposes individuated mass killing as a framework for understanding how computation organises extermination, both locally and as part of a wider techno-political order.  
______ 
Global Bodies, Human Voices: Resisting Digital Dehumanisation through Distributed Solidarity. 
Marit Seyer and worldwide members of the Stop Killer Robots Coalition: Salena Barry UK, Illés Katona Hungary, Yanitra Kumaragurup Sri Lanka, Omar Mboob Gambia 
  
This presentation unfolds across two acts. It begins with a collage of short video testimonies from campaigners around the world, each voicing why killer robots must be stopped. These fragments collectively expose how autonomous weapons systems enact digital dehumanisation: reducing people to data points, severing dignity from decision-making, and normalising automated violence. In the second act, one campaigner present on site engages in live dialogue with four others who join via point-cloud projections from different continents. This dispersed presence materialises the campaign’s insistence that resistance to digital dehumanisation is a shared, planetary responsibility. By weaving distant bodies into a single space of dialogue, the intervention asserts the urgency of banning autonomous weapons, foregrounds the necessity of human control, and calls on each of us to contribute to safeguarding our common humanity.  
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From info at eipcp.net  Wed Sep 17 09:46:46 2025
From: info at eipcp.net (info at eipcp.net)
Date: Wed, 17 Sep 2025 09:46:46 +0200
Subject: [spectre] TOSQUELLES transversal
Message-ID: <1758095206357905726.1.3975273562663620542@07024972e83e>

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From ab at mikro.in-berlin.de  Mon Sep 22 05:38:20 2025
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Mon, 22 Sep 2025 05:38:20 +0200
Subject: [spectre] =?utf-8?b?RldEOiBUVVJOIFVQIOKAkyAzMCBZZWFycyBvZiDCu1Nw?=
 =?utf-8?q?ringerin=C2=AB_=28Vienna=2C_24_Sept_2025=29?=
Message-ID: <48b92e51-ef45-459b-8f04-c2bf39215a21@mikro.in-berlin.de>

TURN UP – 30 Years of »Springerin«
30 Years – 30 Acts

24 September 2025, 18:00 – 23:59
Vienna

To mark its 30th anniversary, springerin magazine presents a 
performative-theatrical congress under the theme »30 Years – 30 Acts.« 
The evening will unfold as an associative »marathon,« bringing together 
artists, theorists, musicians, filmmakers, and writers from the 
springerin network.

The programme features performances, music gigs, DJ sets, 
micro-exhibitions, short dialogues, and other formats that reflect the 
magazine’s discursive history while opening up new perspectives on 
future forms of art discourse.

Featuring contributions from Jochen Becker, Anatolyi Belov, Keti 
Chukhrov, Alice Creischer & Andreas Siekmann, Josef Dabernig, Christiane 
Erharter, Sureyyya Evren, Justin Hoffmann, Kathi Hofer, Anna Jermolaewa, 
Jung an Tagen, Franz Kapfer, Rahma Khazam, Michaela Mélian, Boris 
Ondreička, Pauls Jets, Manuel Pelmus, Sasha Pirker, Julius Pristauz, 
Thomas Raab, Milica Tomic, Jan Verwoert, Yvonne Volkert and many more.

Venue: Halle G, MuseumsQuartier Vienna. Free admission.

https://www.erstestiftung.org/en/events/turn-up-30-years-of-springerin/

From andreas.broeckmann at leuphana.de  Mon Sep 22 06:32:50 2025
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Mon, 22 Sep 2025 06:32:50 +0200
Subject: [spectre] ANN: A Postcolonial Condition [in Eastern Europe]?
 (Hamburg, 22-26 Sep 25)
Message-ID: <585f7ddb-244d-4daa-bf92-0cde30c9bed3@leuphana.de>

From: Prof. Dr. Petra Lange-Berndt
Date: Sep 13, 2025
Subject: ANN: A Postcolonial Condition? Public Program (Hamburg, 22-26 
Sep 25)

Warburg-Haus, Heilwigstrasse 116, 20249 Hamburg, Sep 22–26, 2025

Public programme in the context of

A Postcolonial Condition? Art, Literature, Film, and the Everyday in 
Eastern Europe, 1989–today.
Summer school 2025, Warburg-Haus, Heilwigstrasse 116, 20249 Hamburg

Organised by: Dr. Marina Gerber, Prof. Dr. Petra Lange-Berndt, Prof. Dr. 
Anja Tippner, Eastern European / Slavic Studies and Department of 
History of Art, Universität Hamburg

Decolonial and postcolonial studies play a major role in Eastern Europe 
in both theory and aesthetic practices such as art, literature, film, or 
visual and material culture. Especially since 1989 they establish a 
change of perspective that has been making peripheral actors and 
non-hegemonic positions visible. The demand for the examination of 
imperial structures, site-sensitive theories and a re-examination of 
Eurocentric points of view have increasingly become the focus of the 
debate, which has gained urgency at the latest since the Russian attacks 
on Ukraine. However, the query surfaces whether and how exactly theories 
of decolonisation, which were developed with other geographies in mind, 
and Eastern Europe can or should be thought together. This is valid 
especially considering the diversity of postsocialist spaces, which 
extend from Central Europe via the Baltic States, Russia and Ukraine to 
Central Asia.

Therefore, this Summer School will focus on these recent discussions and 
explore the following questions: Is a description of the conditions in 
the postsocialist space as postcolonial adequate? If so, what might the 
decolonisation of Eastern Europe look like? What is the relationship 
between postcolonial and postsocialist dynamics? What role can the arts 
play in these processes? Which aesthetic practices can be described as 
decolonising? How do authors and artists develop alternative modes of 
situating themselves as Eastern European? How are postcolonial 
approaches adapted to the cultural and historical experiences and new 
political conditions in the regions?


Monday, September 22, 2025
18.00–19.30 Evening lecture and in conversation
Coloniality without Colonies. Building the East European Confidence
Joanna Warsza (Stadtkuratorin, Hamburg)


Tuesday, September 23, 2025
18.00–19.30 Evening lecture
“Need I mention every single bird that flies in the face of frontiers”. 
The German-Polish Border after 1990 in Art, Research and Curatorial Work
Prof. Dr. Burcu Dogramaci (Department of Art History, 
Ludwig-Maximilians-Universität Munich)

The Polish-German border has a turbulent and complicated history that 
continues to involve artists and exhibitions to this day. The 
442-kilometre-long structure was the focus of a research project I 
conducted together with art historian Marta Smolińska, in which we 
explored the German-Polish border region as a zone of artistic work, 
exchange and reflection. We worked with the double meaning of the term 
‘sharing’ (in German ‘teilen’) as separation and also as shared 
possession and experience. In this respect, we understand the border and 
its regions as much more than a political and territorial dividing line. 
It is noteworthy that the term ‘border’ is already a shared word 
formation: the German ‘Grenze’ is a loanword from Old Polish and comes 
from ‘Granizza’ for border or abbreviation. Grenze thus has its 
etymological origin in the language of the ‘others,’ beyond today’s 
national borders. The shared word also refers to a common (linguistic) 
origin. Our research trips along the border finally resulted in a 
monograph and a travelling exhibition, which was shown at the National 
Museum in Poznań and the Zentrum für Aktuelle Kunst in Berlin-Spandau. 
My lecture will introduce the context of our research on German-Polish 
border art, present case studies and our curatorial concept.


Thursday, September 25, 2025
18.00–19.30 Film screening and talk
Where Russia Ends. Cinematic Essay (2024)
Oleksiy Radynski (Artist, filmmaker, Kyiv), Philipp Goll (Author, 
critic, Berlin)

In the late 1980s, a team of Ukrainian filmmakers undertook several film 
expeditions to remote areas of Siberia. Their forgotten film rolls were 
rediscovered in Kyiv in 2022, during the Russian invasion of Ukraine. 
This fascinating archive is the starting point for a cinematic essay 
that addresses Russian imperialism, environmental destruction, and the 
ongoing oppression and extermination of indigenous peoples in the remote 
areas of Siberia.


Reference / Quellennachweis:
ANN: A Postcolonial Condition? Public Program (Hamburg, 22-26 Sep 25). 
In: ArtHist.net, Sep 13, 2025. <https://arthist.net/archive/50593>.


From noemata at gmail.com  Thu Sep 25 10:52:40 2025
From: noemata at gmail.com (=?UTF-8?Q?Bj=C3=B8rn_Magnhild=C3=B8en?=)
Date: Thu, 25 Sep 2025 10:52:40 +0200
Subject: [spectre] "Mirror Me": Open Call for One-Off Moving Image Festival
 2025
Message-ID: <CAPP+9aD0hrArvOEtXy7i1HvPwvL_2h0_-fcgdK9KdUEpTCsrAw@mail.gmail.com>

We are inviting filmmakers, video artists, and creators to submit
ultrashort video works for the festival centered around the theme "Mirror
me" 🤖

# 1-second short
# original material
# no credits added to the movie (it's added by the festival)
# mp4 web-optimized format
# 4:3 aspect ratio

Deadline for participation: November 1, 2025.

Submit your work here
https://noemata.net/one-off

Exploring AI cloning, imitation, and how machines reflect or distort the
ways humans (or machines) think of themselves: when machines mirror us,
what remains uniquely human? We're looking for 1-second video works
exploring the complex relationship between AI and human identity and
cognition, whether artistic, conceptual, philosophical, or other
interpretations or reflections. When algorithms can mimic our voices,
faces, and even our creativity, we ask: What is a mirror now? Is it a
reflection, a copy, or something else entirely? What happens when the echo
is more perfect than the original? What if we're mirroring a specific,
limited machine called 'human', and that in our vanity we feel our identity
threatened instead of feeling humbled by being mirrored by a more powerful,
general intelligence? Your 1-second video could be a concentrated burst of
thought, a glimpse into the uncanny valley, or perhaps an absurd, profound
reflection on the nature of being (human or machine). We encourage
approaches that use humor, visual poetry, digital and conceptual art to
challenge our perceptions. May your work be a flash of insight, a 1-second
portal into the core of a digital identity crisis.
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From andreas.broeckmann at leuphana.de  Thu Sep 25 13:00:50 2025
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Thu, 25 Sep 2025 13:00:50 +0200
Subject: [spectre] CONF: Contact - Demarcation - Imaginations (Lueneburg,
 8 Oct 25)
Message-ID: <41ccc546-cc87-4dc8-bdd4-b83cf989a0cd@leuphana.de>

From: Katja Bernhardt
Date: Sep 24, 2025
Subject: CONF: Contact - Demarcation - Imaginations (Lueneburg, 8 Oct 25)

Lüneburg, Nordost-Institut (IKGN e.V.), Oct 08, 2025

Contact – Demarcation – Imaginations. Spatial Practices in the Occupied 
City under National Socialism.

In recent years, research into everyday life under National Socialism 
has questioned the dichotomous juxtaposition of the occupied and the 
occupying, instead focusing on questions of interaction within societies 
in the state of occupation and the varying degrees of scopes of action 
(Handlungsspielraum). In our workshop, we combine that notion with that 
of space of imagination (Imaginationsraum), and start form the initial 
thesis that both were interrelated. Thus, on the one hand, we ask about 
practical interventions by the occupiers in the spatial and symbolic 
configurations of the occupied cities or rural settlements, and their 
impact on the socio-spatial organisation of everyday life. But we also 
ask about the forms in which resistance to German dominance over space 
evolved and was articulated. On the other hand, we want to relate these 
spaces of action to imaginative spaces, for instance articulated within 
various forms of media. These may be media that aimed to condition 
behaviour and interaction between different groups in public, 
semi-public, and private spaces. However, we are also thinking of 
imaginations that could serve to cope with the occupation, and thus as a 
means of ‘settling in’ ("Sich-Einrichten", Jan Philipp Reemtsma) in the 
given situation.

The workshop is the third in a series of workshops on architecture and 
urban planning in Eastern Europe occupied by the National Socialists 
(https://arthist.net/archive/41437; https://arthist.net/archive/43440). 
The outlined theoretical programme of the workshop is interwoven with 
two objectives of this series. Firstly, we want to discuss sources that 
have received little attention to date in the history of Nazi 
architecture and urban space planning. Secondly, we want to engage in a 
methodological-theoretical discussion about whether and how the notions 
‘space for action’ and ‘space of imagination’ could be used to relate 
different sources to each other, theoretically and methodologically. 
These objectives are intended to contrast the history of planning based 
on sources of German provenance, with sources and approaches to 
architectural and urban history that allow the multi-layered spatial 
practices of the occupying society to be analysed and represented.

Programme

9:00 a.m.
Welcome

9:15 – 10:30 a.m.
Introduction: Theoretical questions/methodological approaches
Katja Bernhardt (Berlin)

Männer und Maiden or Returning to the Sources
Hanna Grzeszczuk-Brendel (Poznań)

11:00 a.m. – 1:00 p.m.
Kraków or Krakau? Real and symbolic struggles for urban space as 
exemplified by occupied Kraków, 1939–1945
Anna Czocher (Kraków)

Photographing architecture during the occupation, exemplified by an 
archival find
Żanna Komar (Kraków)

The German population in Nazi settlement policy in Ukraine, 1941–1944. 
Plans, expectations, discrepancies
Dmytro Myeshkov (Lüneburg)

2:30 p.m – 4:00 p.m
Design and Reality of Territorial, Administrative Governmentality. The 
Case for Lithuania
Waltraud Indrist (Wien)

Visions of Urban Planning in Lithuania under Nazi Occupation
Marija Drėmaitė (Vilnius)

4:30 p.m. – 5:15 p.m.
Introduction into the collection of the Nordost-Library

5:15 p.m. – 6:00 p.m.
Final discussion

Concept an organisation: Katja Bernhardt and Hanna Grzeszczuk-Brendel.

The workshop is an event organised by the Nordost-Institut (IKGN e.V., 
Lüneburg) in cooperation with the Poznań University of Technology. The 
event is sponsored by the German-Polish Science Foundation.


Reference / Quellennachweis:
CONF: Contact – Demarcation – Imaginations (Lüneburg, 8 Oct 25). In: 
ArtHist.net, Sep 24, 2025. <https://arthist.net/archive/50695>.

From ab at mikro.in-berlin.de  Mon Sep 29 06:08:44 2025
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Mon, 29 Sep 2025 06:08:44 +0200
Subject: [spectre] Fwd: FWD: RIXC 25th Anniversary Edition: RIXC Art Science
 Festival 2025 PLANTS INTELLIGENCE
In-Reply-To: <d4509c89157f900222bc4831c.ebfead8d1d.20250928184100.0cb36360ce.53c96fb2@mail254.suw161.rsgsv.net>
References: <d4509c89157f900222bc4831c.ebfead8d1d.20250928184100.0cb36360ce.53c96fb2@mail254.suw161.rsgsv.net>
Message-ID: <04d02811-7e9b-4601-b16d-2ec9cdeaf1d7@mikro.in-berlin.de>

Betreff: 	RIXC 25th Anniversary Edition: RIXC Art Science Festival 2025 
PLANTS INTELLIGENCE
Datum: 	Sun, 28 Sep 2025 18:41:05 +0000
Von: 	RIXC Center for New Media Culture <rixc at rixc.org>

RIXC 25th Anniversary Edition: RIXC Art Science Festival 2025 PLANTS 
INTELLIGENCE

https://rixc.org/en/home___/0/join-us-and-register-for-rixc-s-25-year-anniversary-festival-plants-intelligence/

Dear RIXC friends and colleagues,

This autumn, the *Riga-based RIXC Center for New Media 
Culture* celebrates its *25th anniversary *– a milestone made possible 
through decades of local collaboration and international exchange. Since 
its founding, RIXC has built vibrant networks at the crossroads of art, 
science, and technology, continually opening new pathways for dialogue 
and discovery.

The* RIXC Art and Science Festival 2025,* shaped together with partners 
from Latvia, the Baltic–Nordic region, Europe, and beyond, explores this 
year’s leading theme: /*Plants Intelligence*/. Developed in close 
collaboration with the Swiss National Science Foundation–funded project 
*Plants_Intelligence. Learning Like a Plant,* the festival invites us to 
consider what vegetal life can teach us about sensing, adapting, and 
coexisting on a changing planet.

Keynotes by *Noelia Billi, Jana Kukaine, and Yvonne Volkart* will spark 
conversations spanning South–North and East–West perspectives on vegetal 
mutual learning. The festival’s rich program – unfolding* October 16–18, 
2025 in Riga and online *– includes the Plants Intelligence *exhibition 
*at Kim? Contemporary Art Centre, a *symposium *at the Art Academy of 
Latvia, *artist talks, research presentations, workshops, performances, 
XR showcases, *and the Baltic–Nordic *Symbiotic Futures meeting.*

We look forward to welcoming you to this special anniversary edition of 
the RIXC festival – a celebration of curiosity, shared knowledge and 
creative collaboration that has defined RIXC’s journey for the past 25 
years.

Warm regards,
RIXC Team

*REGISTRATION & PROGRAMME*


Join Us and Register for RIXC’s 25-Year Anniversary Festival: Plants
Intelligence!


October 16–18, 2025
/Riga, Latvia / Online/

We’re turning 25! Celebrate with us — all events are free (*register 
HERE 
<https://rixc.us3.list-manage.com/track/click?u=d4509c89157f900222bc4831c&id=db2f05f77f&e=ebfead8d1d>!*), 
featuring Plants Intelligence (CH), Resonance of Nature (DE–FR–LV), 
Symbiotic Futures (Nordic–Baltic), and other partnerships.

*The main festival program will take place October 16–18, 2025,* in Riga 
and online, featuring the opening of the Plants Intelligence *exhibition 
*at Kim? Contemporary Art Centre and a *symposium *at the Art Academy of 
Latvia, with artist talks, research presentations, film screenings, and 
live performances. It will also present the Resonances of Nature project 
with a *workshop*, an interactive sound *installation *and 
*performance*, created through French, German, and Latvian 
collaborations. Further highlights include *XR showcases* by artists 
from the RIXC Field Residency, Taiwan-based Zone Sound, and Karlsruhe’s 
NAIA, along with the *Symbiotic Futures Baltic–Nordic meeting. *More...

*THEME & EXHIBITION*

PLANTS INTELLIGENCE Festival Theme and Exhibition

Public Opening: Thursday, October 16, 2025, 18:00
On-view until November 23, 2025
/Kim? Contemporary Art Centre, Sporta iela 2/

*Artists: *Uģis Albiņš (LV), Ursula Biemann (CH), Felipe Castelblanco 
(CO/CH), Karine Bonneval (FR), Gints Gabrāns, Arnis Rītups (LV), 
Nicholas Kahn & Richard Selesnick (FR/US), Julia Mensch (AR/CH), Marc 
Lee (CH), Ayënan Quinchoa Juajibioy (CO), Rasa Smite, Raitis Smits (LV), 
Zheng Bo (CN).
*Curators: *Yvonne Volkart (CH), Raitis Smits (LV)

The exhibition is developed in cooperation with the research project 
Plants_Intelligence (2022–2025) and features its outcomes. The 
exhibition also includes other works in which artists explore the 
intelligence of plants through scientific, artistic, indigenous, 
anthropological, imaginative, and speculative perspectives. More... 
<https://rixc.us3.list-manage.com/track/click?u=d4509c89157f900222bc4831c&id=1b92f49252&e=ebfead8d1d>

*FESTIVAL KEYNOTES*

FESTIVAL KEYNOTES: Noelia Billi (AR), Jana Kukaine (LV) and Yvonne
Volkart (CH)


*Opening Keynotes:*
Thursday, October 16, 2025, 15:30 – Noelia Billi (AR), Jana Kukaine (LV)
*Symposium Keynotes:*
Friday, October 17, 2025, 15:00 – Yvonne Volkart (CH), with Zheng Bo (CN)
/Venue: Art Academy of Latvia, K2 building (entrance from the yard / 
park side) // Online/

This year’s festival presents outstanding keynotes from different 
regions – the Global South, the European North, Central Europe, and 
Asia, bringing together perspectives of vegetal agency, ecofeminist 
theories, critical ecologies, and socially engaged art from distinct 
contexts.

This year’s public keynotes will be delivered by Argentinian philosopher 
and researcher *Noelia Billi,* Latvian eco-feminist and art theorist 
*Jana Kukaine,* and Swiss art and media theorist *Yvonne Volkart *– 
principal investigator of the Plants_Intelligence research project.

*RESONANCES OF NATURE*

RESONANCES OF NATURE: Workshop, Installation and Performances

*Opening of Immersive sound installation *Māja by Marylou Petot (FR) – 
October 16, 2025, 14:00
*Performance: *Klimaton – October 17, 18:00
*Workshop: *Klimaton by Adnan Softić (DE) – October 18, 15:00–18:00
/Venue: Art Academy of Latvia, K2, Riga (Onsite only)/

Another thematic perspective comes through collaboration with one of the 
RIXC’s longstanding partners, the Goethe-Institut Riga, which this year 
joins with the French Institute in Latvia to present the Resonances of 
Nature project, supported by the Franco-German Cultural Fund.

This program presents *Māja*, an immersive interactive sound 
installation by French sound artist *Marylou Petot, *created in 
collaboration with the Nature Education Center at Ķemeri National Park 
using field recordings of Latvian birds. Together with German artist 
*Adnan Softić and Latvian collaborators,* she will also present the 
outcomes of the Resonances of Nature project at the RIXC Festival 
symposium. More... 
<https://rixc.us3.list-manage.com/track/click?u=d4509c89157f900222bc4831c&id=87b7a9a618&e=ebfead8d1d>

WORKSHOP & PERFORMANCES: Klimaton by Adnan Softić

German artist Adnan Softić contributes performance in collaboration with 
Latvian and German artists and workshop using his Klimaton Arctic, a 
musical instrument that transforms scientific data from the MOSAiC 
Arctic expedition into sound, making the climate crisis tangible through 
immersive listening.

Performance: Klimaton – October 17, 18:00 /

/Venue: Art Academy of Latvia, K2, Riga (Onsite only)/

The Klimaton performance will feature *Latvian sound artists Normal 
Babyy* and *German artist Thies Mynther,* who blend electronic music 
with Arctic soundscapes, each engaging KLIMATON as a partner and 
subject. *Normal Babyy* expand their exploration of control, automation, 
and the agency of machines through the generative sound objecy, while 
*Mynther’s* composition transforms polar datasets into shifting sonic 
textures that blur the line between scientific abstraction and sensorial 
immersion. More... 
<https://rixc.us3.list-manage.com/track/click?u=d4509c89157f900222bc4831c&id=e732d0eba1&e=ebfead8d1d>


/Workshop: Klimaton by Adnan Softić (DE) – October 18, 15:00–18:00/

/Venue: Art Academy of Latvia, K2, Riga (Onsite only)/

The workshop invites participants to engage creatively with climate 
change through listening, reflection, and hands-on experimentation. 
After an introduction to the KLIMATON ARCTIC sound instrument, a 
contemplative space unfolds where complex aspects of climate science 
become tangible.

*RIXC GALLERY*

TRANSITION ECOLOGIES Exhibition by Maija Demitere

September 4–October 25, 2025, Wednesday–Saturday, 12.00-18.00
/RIXC Gallery, Lencu iela 2/

/Transition Ecologies /introduces this year's RIXC Art and Science 
Festival theme of "plants intelligence," which reflects on new ways of 
creating knowledge and the coexistence of multispecies.

The exhibition focuses on the relationship between humans and the 
environment at a time when the usual balances are collapsing and new 
ecological connections need to be sought. At its center is an aquaponics 
system that demonstrates food cultivation in water without soil. More...

*RIXC FRIENDS*

RIXC recommends – Skaņu Mežs 2025: From Hyperpop to Noise

October 3–4, 2025
/Culture Space "Hanzas Perons” (Hanzas ielā 16A)/

As RIXC Festival is approaching, we are recommending to attend the event 
organized by RIXC friends:

The experimental music festival *Skaņu Mežs *will take place on *October 
3 and 4* at the cultural venue *Hanzas Perons* (16A Hanzas Street, 
Riga). Headlining artists include hyperpop project *Sega Bodega*, 
experimental rock band *These New Puritans*, avant-rap visionary *Fatboi 
Sharif,* and contemporary jazz star *Shabaka Hutchings.*

As always, the festival will explore shifts in today’s music through the 
prism of diverse genres - from pop and noise to hip-hop, contemporary 
avant-garde, and industrial techno.

rixc.org

rixc at rixc.org

/Copyright © 2025 RIXC Center for New Media Culture, All rights reserved./

*Our mailing address is:*
RIXC Center for New Media Culture
Lencu iela 2
Riga LV-1010
Latvia


From info at metazoa.org  Tue Sep 30 11:02:52 2025
From: info at metazoa.org (metazoa.org)
Date: Tue, 30 Sep 2025 11:02:52 +0200
Subject: [spectre] CURRENT SCREENSAVER: Boryana Rossa,
 ULTRAFUTURO /ULTRAFUTURO Manifesto/
Message-ID: <3befef54-c8d1-4767-9d7a-983c346f0247@metazoa.org>

Dear spectres!

40 Years of the Cyborg and the Betrayed Generation. Where Did We Go 
Wrong? Presenting the Strike of Ultrafuturism.


ScreenSaverGallery presents a series of songs based on the ULTRAFUTURO 
Manifesto, which is the text formulated by Rossa and Oleg Mavromatti as 
the artistic and political program for the ULTRAFUTURO collective. The 
Manifesto addresses themes of human-machine symbiosis and the necessity 
of overcoming obsolete cultural formats.
In the form of musical compositions, the Manifesto becomes a 
performative act: each launch of the screensaver triggers one of the 
songs, thus reopening the possibility of hearing a radical vision of the 
future where boundaries between humans and technology are redefined. The 
absence of a visual component focuses attention exclusively on the 
voice, text, and rhythm, functioning as a direct appeal.


2025 marks 40 years since Donna Haraway imprinted the Cyborg Manifesto 
onto the collective consciousness – a text meant to disrupt binary 
domination and pave the way for a new, hybrid subjectivity by making the 
biological and cyborg foundations of our bodies apparent. Today, 
however, we bitterly admit: nothing of the sort has happened. Haraway’s 
irony and subversion, chosen as tools of liberation, became mere 
sustenance for the processes of the Informatics of Domination. It is 
into this breach that the musicalized manifesto enters, not as an 
affirmation or celebration of the cyborg concept, but as its 
radicalization with a battle cry. [more at 
https://screensaver.gallery/boryana-rossa-ultrafuturo-ultrafuturo-manifesto]


Save Your Screen!
Get ScreenSaverGallery https://screensaver.gallery/get
Follow ScreenSaverGallery on Telegram <https://t.me/screensavergallery>, 
Instagram <https://www.instagram.com/screensavergallery/>, GitHub 
<https://github.com/ScreenSaverGallery>, RSS 
<https://sleep.screensaver.gallery/feed>, Newsletter 
<https://listmonk.screensaver.gallery/subscription/form>
🌸 Sponsor https://opencollective.com/screensavergallery, 
https://screensaver.gallery/donate

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