While smart is the keyword of the omni-connection through the internet of things and social media, dark is the state of our relation with the user-oriented technology that operates the data collection of our online choices and issues our privacy and self determination in the web.
Like never before, we are spectators of an effort of sense-making within the massive amount of data available, which is in urgent need of being interpreted by controversial intelligent machines, such as hackers do when they call them systems of surveillance. In this digital space, the Dark Web extends into grey-zone territory: banned by society as a container of illegal activities while serving as a genesis of new subcultures.
The open call for this section of Dark Society aims to gather works that unveil these technological dimensions while questioning the ability and necessity for users to stay anonymous, hide their tracks or obfuscate their surrounding systems of surveillance.
Proposals: firstname.lastname@example.org (deadline 1 April 2017)
– coedited with Pedro Marum
In the fundamental state of media obliquity, re-interpreting Boris Groys: if techniques of mechanical reproduction gave us (sub)jects without aura, digital production generates aura without (sub)jects, transforming all its materials into vanishing markers of a self-advertised present as a constant imperative ruling the online comedy.
From the dark web to furry sex clubs, virtual megalopolises and chimeras, cyber-subcultures grow in parallel, and on the margins, of the expansive dragnet of digital surveillance. If latter monitors interacts by means of obscure algorithms and normalizing forces, dark-embodiments allows the rupture of the crystalline morals, bursting with tentacles and petrochemicals that comprise new ontological memories, expanding our conceive of the body as an open-architecture, redesigning situations where the urgency of physicality can be discussed with or without technology.
In The Queer Art of Failure, Jack Halberstam refers to darkness as being crucial in the queer aesthetics. In the shadow, worlds lie the disruptive potential to the existence and expansion of non-normative forms; the glitch is what allows the resistance to the gaze, the struggle to the stratal power, it is the noise in the protest.
VIDEO: Christian Sawalski | Disembodied Momentum
This video work references to Walter Benjamin’s essay “The Work of Art in the Age of Mechanical Reproduction” specifically to the cultural phenomenon of photographing and recording videos excessively and by that making these documents an additional form of memory. The intention is to explore an iconography of the body and its movements, captured by this digital process of memory, in a condition of information being corrupted, altered and, ultimately, destroyed.
The exhibition Dark Science will present works approaching specific phenomena focusing on their physicality by means of the paradox underlaying our human relation to them in terms of states of absence, immateriality, evanescence and void. This pushes the boundaries of our imagination and reflects a constant need to sense and understand levels of the physical world in an observable and measurable matter. Traces and shadows of those transitory presences become the territory of exploration for artists with different approaches from an intentionality on presenting a direct experience of the phenomena to the impact of these elements produces indirectly in our culture and society.
Read more: http://spektrumberlin.de/events/detail/exhibition-8-dark-science.html