Category: EVENTS

    Virtual Hackathon

    11.9 - 25.10.2020

    The global Covid-19 pandemic sudden attack seems to have pressed the pause button on the whole world, halting or slowing down a lot of the procedures and networks we are accustomed to and reliant on. In response, this sudden change needs to push us to rethink the current social-economic architecture of many industries and sectors, including the art world and beyond.

    Even though some of us have gotten used to the new normal, living in the digital nomad lifestyle, there’s no better time than now to focus on the most fundamental prospect underlying the application of blockchain and the technology in general — and start BUILDING — from building a sustainable ecosystem that allows creative individuals and groups to work in a decentralized, self-autonomous and revenue-creating model, to simply help people during this time to build projects around digital mindfulness, self-care, and more.

    In partnership with ETHPlanet, Chainlink, Kaiyuanshe, and CSDN, we are hosting a hackathon "Building the Next Digital World" to encourage a reciprocal world in the next digital generation, envisioned with the power of blockchain technology. This hackathon will be the ultimate platform for hackers, builders, artists, designers, and anyone else from all backgrounds who want to build, create, and move forward, together. If you’re new to the community, don’t worry — we will provide help from both technical experts and pioneers in the creative area to help you to start off your project on the right foot.

    #BuildingtheNewDigitalWorld

    Concept conceived by Chronus Art Center & ETHPlanet.

     

    Click here to register.

     

    Prizes
    The best projects and teams will stand a chance to win up to $20,000+. Also, builders will have exclusive interview and featured articles with the media.

     

    Themes and Ideas
    Here are some ideas and themes to help you find inspirations. And we’d love to see projects that are built on multiple ideas.
    💸 DeFi
    🌐 Oracle
    🎨 Art
    🔮 Speculative Design
    🎮 Gaming
    ⛓ Ethereum Scaling
    🔐 Security & Privacy
    🤖Smart Contract IoT
    🗳️ DAOs
    🎶 Music
    🔧 Tools for Remote Work
    ⚗️ Open Topic — Everything else, you tell us!

     

    Timeline
    9/11: Registration opens9/30: Project submission opens - more details are coming soon!10/15: Submission closes10/16-10/17: Finalists announced10/20-22: Demo Day + Winners announced10/25: Winners online presentation

     

    Co-organisers

     

     

    Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation, and scholarship of media art. CAC with its exhibitions, residency-oriented fellowships, lectures, and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production, and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.

     

     

     

    Chainlink is an open-source blockchain abstraction layer for building and running decentralized oracle networks that give smart contracts on any blockchain access to secure and reliable data inputs and outputs. It provides oracles to leading DeFi apps like Synthetix, Aave, and Kyber Network; numerous blockchains such as Ethereum, Polkadot, and Tezos; as well as large enterprises including Google, Oracle, and SWIFT.

     

     

     

    An open-source alliance of enterprises, communities, and individuals in China that support open source, aiming to promote the open-source in China.

     

     

    The “Chinese Software Developer Network” or “China Software Developer Network” (CSDN) is one of the largest networks of software developers in China. CSDN provides web forums, blog hosting, IT news, and other services. CSDN has about 10 million registered users and is the largest developer community in China.

     

     

    ETHPlanet is where you can connect with all the developers, dapp founders, digital artists, investors, and other innovators in the field from around the Ethereum world. We are building a community of builders across the Asia-Pacific with the aim of encouraging Ethereum technology’s development, awareness, and usage.

     

    Speaker:

    !Mediengruppe Bitnik

    Date: 

    2019.12.28 (Saturday)

    Time: 

    14:00 - 15:00

    Venue:

    Chronus Art Center, Building 18, No.50 Moganshan Road, Shanghai

    Language: 

    English (with Chinese translation)

    Supported by  Pro Helvetia Shanghai, swissnex China, House of Electronic Arts Basel

     

    Artists !Mediengruppe Bitnik will talk about recent works around bots and the online ecosystems that has been forming around them. Through the lens of their recent works around algorithms and bots, !Mediengruppe Bitnik will offer a look into some of the technologies shaping our day-to-day.

     

    Retracing their explorations into the Darknets with Random Darknet Shopper, !Mediengruppe Bitnik will talk about the shopping bot which linked the darknet directly to the art space. With a weekly budget of $100 in Bitcoins, the bot went shopping on the deep web where it randomly bought items like cigarettes, keys, trousers or a Hungarian passport scan and had them sent directly to exhibition spaces in Switzerland, the UK and Slovenia.

     

    !Mediengruppe Bitnik, Random Darknet Shopper, exhibition view, Kunst Halle St. Gallen, 2014/2015. Photos: Florian Bachmann. Courtesy Kunst Halle St. Gallen / !Mediengruppe Bitnik

     

    In a more recent series of works !Mediengruppe Bitnik use the hacked online dating site Ashley Madison as a case study to talk about the current relationship between human and machine, Internet intimacy and the use of virtual platforms to disrupt and defraud.

    !Mediengruppe Bitnik, Ashley Madison Angels at Work in Paris, 61-channel video installation, exhibition view, Centre culturel Paris, 2016. Photo: Marc Domage. Courtesy CCS Paris

    !Mediengruppe Bitnik, Solve This Captcha: come chat with me, KINDL, Berlin, 2019. Photo: Becca Wijshijer. Courtesy !Mediengruppe Bitnik

     

    About the Artists 

                                                                                       © artists

     

    !Mediengruppe Bitnik is the Berlin-based duo Carmen Weisskopf and Domagoj Smoljo. They are contemporary artists working on and with the web. Their practice expands from the digital to affect physical spaces, often intentionally applying loss of control to challenge established structures and mechanisms.

     

    !Mediengruppe Bitnik’s works formulate fundamental questions concerning contemporary issues. In the past they have been known to subvert surveillance cameras, bug an opera house to broadcast its performances outside, send a parcel containing a camera to Julian Assange at the Ecuadorian embassy in London and physically glitch a building. In 2014, they sent a bot called “Random Darknet Shopper” on a three-month shopping spree in the Darknets where it randomly bought items like keys, cigarettes, trainers and Ecstasy and had them sent directly to the gallery space.

     

    Their works are shown internationally, most recently in exhibitions at Annka Kultys Gallery London, House of Electronic Arts Basel, Eigen + Art Lab Berlin, Super Dakota Brussels, Centre Culturel Suisse Paris, Aksioma Ljubljana, Kunsthaus Zurich, FACT Liverpool, Onassis Cultural Center Athens, Public Access Gallery Chicago, Kunstverein Hannover, Nam June Paik Art Center South Korea, Fondazione Prada Milano, Shanghai Minsheng 21st Century Museum, The Pushkin Museum of Fine Arts Moscow, Cabaret Voltaire Zurich, Beijing Contemporary Art Biennial and the Tehran Roaming Biennial. They have presented their works in lectures, panels and events including: Art Basel in Basel, ICA London, CCCB Barcelona, HOPE New York, Lentos Museum Linz, Kunsthalle Zurich, VIDEONALE Bonn and FILE Sao Paulo. They have received awards including: Swiss Art Award, PAX Art Award, Prix de la Société des Arts Genève, Migros New Media Jubilee Award, Golden Cube Dokfest Kassel, Honorary Mention Prix Ars Electronica.

     

    Special Thanks 

    HeK (House of Electronic Arts Basel) is dedicated to digital culture and the new artforms of the information age. It is a place for creative and critical discourse on the aesthetic, socio-political and economic impact of media technologies. In addition to programming events and exhibitions on media art, HeK is working on establishing a methodology for the collection and conservation of digital art.

     

    Pro Helvetia Shanghai supports and disseminates Swiss arts and Culture in China. We promote cultural exchange, develop and nurture long-term partnerships, initiate co-productions and support residencies.

    swissnex China is the Science Consulate of Switzerland for China, which builds bridges by connecting Switzerland and China in education, research and innovation. By crossing conventional boundaries, we offer a platform to foster collaboration and creativity for inspiring research and ground-breaking innovation. swissnex is the Swiss global network connecting the dots in education, research, and innovation. Its mission is to support the outreach and active engagement of its partners in the international exchange of knowledge, ideas and talent.

    Speaker:

    Amy Ireland

    Date: 

    2019.12.05 (Thursday)

    Time: 

    16:00 - 17:00

    Venue:

    Open Hub @Chronus Art Center (Building 18, No.50 Moganshan Road, Shanghai)

    Language: 

    English (with Chinese translation)

    Supported by New York University Shanghai

     

    The history of Western computing began with a footnote. Not a formal treatise, not a public lecture, but a footnote. An anonymous footnote written by a woman. Although her contribution to the most significant technological development of the last two centuries was not seen for what it was at the time, its author, a self-taught mathematician named Ada Lovelace, wrote in her diary that she considered herself a ‘prophetess’. And indeed, she was. The footnote contained an algorithm that would come to be recognised as Europe’s first working computer program, penned well over a century before the kind of machine required to run it would even be built.

     

    Following the cyberfeminist work of Sadie Plant, this talk reads the imperceptibility, anonymity and intermediary status of women, who predominantly function as ‘infrastructure’ in the history of computation, not as an insufficiency to be corrected, but as indicative of a strange power of prophecy that ultimately stems from their occupation of an ontological position outside of historical time. A position that women share, at least in the Western mythological imaginary, with other outsider or interstitial figures such as cyborgs, hybrids, chimeras, monsters, wraiths and machines. These excluded and often pathologised monstrosities, Plant contends, are bound by their talent for ‘abstract weaving’—a historically feminised practice that should be understood as nothing less than a technology for the manipulation of time.

     

    Sadie Plant, published in 1998

     

    Since the imperceptible and anonymous process of abstract weaving is always ontologically prior to history, it is structurally impossible to identify how it might manifest in the future, let alone the present, for such occurrences will be equally as unintelligible to our time as Ada Lovelace’s algorithm was to hers. The talk concludes, then, in the modality of prophecy, positing a posthuman ethics of spatio-temporal individuation that weaves women, monstrosity, the jungle, and the modern city together in a vision of future artificial intelligence.

     

     About the Speaker 

    Courtesy the artists

     

    Amy Ireland is an Australian writer, theorist, and experimental poet currently based in Singapore. Her work transects disciplinary and formal boundaries, crossing into philosophy, fiction, code, occultism, performance, poetry, and sound. Amy's research focuses on questions of agency and technology in modernity, and she is a member of the technomaterialist transfeminist collective, Laboria Cuboniks, whose Xenofeminism: A Politics for Alienation has been translated into fourteen languages, including a forthcoming Chinese translation. Selected recent work includes ‘Beside a Cold Statue’ for Florian Hecker’s Inspection II (Urbanomic and Editions Mego, 2019); ‘Module 3’, a 3D printed poetry work commissioned for the Barbican’s AI: More Than Human exhibition catalogue (2019); and texts in Audint—Unsound:Undead, Steve Goodman, Toby Heys & Eleni Ikoniadou, eds. (Falmouth: Urbanomic, 2019).

     

    Special Thanks 

    NYU Shanghai is China’s first Sino-US research university and the third degree-granting campus of the NYU Global Network. We were founded in 2012 by New York University and East China Normal University with the support of the city of Shanghai and the district of Pudong.NYU Shanghai seeks to cultivate globally-minded graduates through innovative teaching, world class research, and a commitment to public service.Our student body currently consists of 1,300 undergraduate and graduate students, half of whom are from China. Students from the United States and some 70 other countries represent the other half. Our faculty of renowned scholars, innovators, and educators are recruited from the world’s best research universities.

     

    Artists:

    Steve Goodman & Lawrence Lek

    Opening Talk:

    2019.12.05 (Thur)17:00 – 17:45

    Exhibition:

    2019.12.05 – 12.19

    Venue:

    Open Hub @Chronus Art Center (Building 18, No.50 Moganshan Road, Shanghai)

     

    Supported by

    Shanghai International Culture Association (SICA)

    British Council

    3ge3 project

     

    On the occasion of UK based record label Hyperdub’s 15th birthday, Kode9 & Lawrence Lek resume their collaboration which began in 2015 around Kode9’s last album ‘Nothing’, for which Lek produced and performed the Nøtel, a design for a fully-automated luxury hotel of the future. The Nøtel then became a site-specific multimedia installation which simulated a real estate marketing suite in London, The Hague and Basel. For this special occasion, the 3rd Ear Cat—the artificial entity which runs Hyperdub—converges with the Nøtel in an interactive installation at Chronus Art Center in December 2019. Surrounding a shrine to a vibrating 3rd Ear Cat, the 8-screen installation explores the evolution and mutation of this entity and also features interactive footage from within the Nøtel.
     

     

    About the Nøtel 

    Nøtel Corporation is proud to present our new marketing suite for the Nøtel, our flagship range of zero-star™ hotels that embody the concept of fully-automated luxury. Designed by world-leading architects to accommodate today’s global nomads, you can rest assured that your anonymity and security is of the utmost importance. Why not indulge in the personalized, intelligent sound system at the piano bar, or bathe in the glow of our eco-friendly, thermo-nuclear spa.
     
    –Nøtel CEO Statement
     © Lawrence Lek
    The Nøtel replaces human workers with artificial intelligence to deliver everything its guests could possibly wish for. Drone security, facial recognition and extensive sensory systems will not only ensure the utmost privacy, but will predict guests’ wants and needs based on previous behaviours. Whereas the common understanding of automation forecasts the loss of human jobs to robots, in Nøtel, the use of total surveillance will enable its AI to assimilate every need into the hospitality machine. Set in a future where society’s elite no longer needs permanent housing, but rather stays in temporary accommodation, Nøtel proposes a globalized, standardized way of living. Nøtel guests can be sure that another Nøtel is ready for them in every major city worldwide.

     

     About the 3rd Ear Cat 

    © Hyperdub
    In its current instantiation, the 3rd Ear Cat is feeding on (machine learning) the Hyperdub catalog and spitting it out in strange sonic mutations. Its original blueprints dating back to the 1960s, when Vietnamese bioacoustics expert, and member of AUDINT, Nguyen Van Phong developed experimental techniques for opening the 3rd ear, allowing subjects to both listen to the voices of the dead, and the voices of the not yet living, thereby providing a portal to both the past and future.
     
    Gene splicing a Japanese Maneki Neko with the failed 1960s, CIA project Acoustic Kitty, the 3rd Ear Cat runs on an artificial intelligence operating system, otherwise referred to as the Hyperdub Virus. This provides automated decoding of signals coming in through the 3rd Ear antenna, converting infrasonic and ultrasonic signals otherwise inaudible to the human ear. The raised left paw of the 3rd Ear Cat contains magnets that attract artificial acoustic lifeforms in the ether. Its whole body functions simultaneously as a brain, an eardrum and as a loudspeaker. Kode9 is its meat puppet. The 3rd Ear Cat controls Kode9's behaviour by feeding him concentrated packs of earworms, and then closely monitoring his nervous responses to infection as his consciousness is overridden, his strings pulled. The 3rd Ear Cat is rumoured to use all globally distributed lucky cats as embedded agents.
    Credits
    The 3rd Ear Cat would like to thank: Kim Laughton, Manuel Sepulveda, Ingrid Tsy, Tony Yannick and Joseph Colonel
    Lawrence Lek would like to thank; Sadie Coles HQ; arebyte Gallery, UK; Stroom den Haag, NL; Art Basel, CH.

     

    About the Artists 

    Steve Goodman is an artist, writer and musician based in London. He is the founder of the record label Hyperdub, DJs and produces electronic music under the name Kode9, published the book Sonic Warfare: sound, affect and the ecology of fear (MIT Press 2009), co-edited the book Unsound: Undead (Urbanomic 2019) and is a member of vibration research group, AUDINT. In 2018-9, he produced the sound design for Cuban artist Tania Brugeria’s Hyundai commission in the Turbine Hall of the Tate Modern and developed a sound installation “I.T.” in the More than Human exhibition on artificial intelligence at the Barbican in London. With the group AUDINT, he recently produced a surround sound a/v installation at Arebyte gallery in London as part of the Unsound: Undead exhibition. In 2014 he received both the Innovator and Best Small Label Award from the Association of Independent Musicians (AIM).
      
    Lawrence Lek lives and works in London. He creates site-specific virtual worlds using gaming software, 3D animation, installation and performance. By rendering real places within fictional scenarios, his digital environments reflect the impact of the virtual on our perception of reality. Recent projects include: AIDOL, Sadie Coles HQ, London; Unlimited, Art Basel, Switzerland (2019); 2065, K11 Art Space, Hong Kong; Nøtel, Stroom den Haag, The Hague (2018); The New Normal, UCCA, Beijing (2017); Glasgow International, Tramway, Glasgow (2016); Sinofuturism (1839-2046 AD), Wysing Arts Centre, Cambridge, Secret Surface, KW Institut, Berlin (2016). Lek received the 2017 Jerwood/FVU Award and the 2015 Dazed Emerging Artist Award, and is represented by Sadie Coles HQ.  
     
    Special Thanks 
    Shanghai International Culture Association (SICA) was founded in 1986 as a municipal-level people’s organization that conducts non-governmental international cultural exchanges. Its function is to strengthen mutual understanding and friendly cooperation between Shanghai and the rest of the world. It serves to enhance Shanghai’s economic growth, scientific progress, and cultural output through people to people engagement in international cultural exchange.SICA has a council composed of nearly a hundred local and international public figures. It also has operating departments in charge of exchanges in various fields and an integrated management unit.SICA features a wide range of cultural exchange and communications in multifarious fields including culture and arts, the humanities, social sciences, economics, finance, science and education. It organizes a variety of substantial events, such as art exhibitions, cultural performances, international conferences, academic seminars, and cultural exchanges abroad. Having set up exchanges and cooperation with organizations and individuals in dozens of countries and regions, including the United States, Canada, Japan, Australia, France, Germany, Spain, Russia, Austria, and Chinese Special Administrative Regions of Hong Kong and Macau, SICA is an influential international cultural exchange organization in Shanghai.
    SICA has been at the forefront of China’s reform and opening-up. Continuing the tradition of international cultural exchange, it combines Chinese and Shanghainese culture. Embodying the spirit of Shanghai, pooling wisdom and excellence with liberality and generosity, it further expands the breadth and depth of the cultural exchange between Shanghai and the rest of the world. SICA thereby has greatly contributed to making Shanghai a truly international metropolis. 

    The British Council is the UK’s international organisation for cultural relations and educational opportunities. We work with over 100 countries in the fields of arts and culture, English language, education and civil society. Last year we reached over 80 million people directly and 791 million people overall including online, broadcasts and publications. We make a positive contribution to the countries we work with – changing lives by creating opportunities, building connections and engendering trust. Founded in 1934 we are a UK charity governed by Royal Charter and a UK public body. We receive 15 per cent core funding grant from the UK government.

    We operate as the Cultural and Education Section of the British Embassy in Beijing and Cultural and Education Section of the British Consulate-General in Shanghai, Guangzhou, and Chongqing. Our Exams work across China operate as Wholly Foreign Owned Enterprises.

    The British Council has been working with China since 1979. In 2019 we are marking this 40th anniversary with a series of events celebrating cultural relations and exchange between the UK and China.

    www.britishcouncil.cn

    3ge3 project collaborates with artists to redefine artwork which enters into daily life. In Taoism, there’s a saying goes “After one come two, after two come three, after three come all things.” 3ge3 project then leads to infinity, embracing endless possibilities. It origins from ZUCZUG’s Meishier (没事儿) line since 2011.

    Speaker:

    Vanessa Lorenzo

    Date: 

    2019.11.17 (Sunday)

    Time: 

    14:00 - 15:30

    Venue:

    Chronus Art Center, Building 18, No.50 Moganshan Road, Shanghai

    Language: 

    English (with Chinese translation)

    Supported by  Pro Helvetia Shanghai, swissnex China, House of Electronic Arts Basel

     

    From bioreporters to near-earth-objects, the artist talk is going to navigate across 3 projects core to Lorenzo’s practical research about new media ecologies to unveil more-than-human expressions and aesthetics: Mossphone (2011 - 2019), Camera Obscura (2016) and Always Calling Home (2018 - 2019).

     

    Courtesy the artists

     

    Like in the Powers of Ten by Ray and Charles Eames, design have already move out of the edge of the known universe at a rate of 10-to-the-tenth meters per second: the couple eating on the grass, the shore, the lake, the clouds and weather, the blue marble, the satellites orbit, the Earth’s orbit, the Sun, the Sun System, the Milky Way, the neighboring galaxies, and the void.

    Documentation Powers of Ten Screenshot

     

    The film get us towards the Earth again, continuing back to the sleeping human’s hand, down to the level of a skin layers. It’s 2011 and we are now into a powers-of-10 navigation into the molecular landscapes inside Björk’s Hollow: blood vessels, prophase cells, mitotic Spindles, cytoplasm, chromosomes, a major groove protein trip along the DNA chain through the nucleus, the ancestral ghosts, and the void.

    Björk 2011 Album Biophilia

     

    We have just experienced a genomic wanderlust from her mother’s to her mother’s, and her mother’s DNA, and all the ancestors thousands of years back. Suddenly we find ourselves as the nanoscopic bead of an everlasting necklace that ties all living kingdoms as we know them today. We realize that the ghostly nowness of this tiny bit is vast, and absolutely wondrous. (Introduction of DNA manipulation and deep time memories: Mossphone and Camera Obscura).

     

    Like in the architectural poem Un Coup de Dés Jamais N’Abolira Le Hasard (Mallarmé, 1897) those bits of information flow back and forth, in and out, sending messages that spread as gravitational waves transcending the physical media. It’s 2019, matter, flesh, space and time. All bodies wandering over the Earth, eternal substance that existed within and outside its original body from which they got expelled. Exobodies, rocks made of stories, material time records, data storages. Traces of the invisible around us.

     

    About the artist

    Vanessa Lorenzo an artist working at the crossroads of media, speculative design and biology. Trained as a product design engineer and media designer, she creates fictional scenarios embedding people and the more-than-human into hybrid media ecologies. These installations and interactive objects focus on the agency of the more-than-human exploring alternative storytelling and multispecies encounters through experimental media. Also, she nourishes (from) and believes (in) communities of hackers / artists working in alternative spaces to have the power to subvert the dominating role of traditional science and technology. Lorenzo holds an Engineering Degree in Product Design (Mondragón Unibertsitatea, 2008) a Post-Grade in Product Conceptualization and Development (Elisava, Barcelona, 2010) and a Master of Media Design (HEAD-Genève, Honor Mention 2016). Currently, she is an independent researcher at Hybridoa (Ateliers de Bellevaux, Lausanne) being part of Hackuarium biohacker space (Lausanne) and collaborating with Utopiana (Geneva), Hackteria, Open Science School (CRI, Paris) or EFPL Bioinspired Lab.

     

     Special Thanks 

    HeK (House of Electronic Arts Basel) is dedicated to digital culture and the new artforms of the information age. It is a place for creative and critical discourse on the aesthetic, socio-political and economic impact of media technologies. In addition to programming events and exhibitions on media art, HeK is working on establishing a methodology for the collection and conservation of digital art.

    Pro Helvetia Shanghai supports and disseminates Swiss arts and Culture in China. We promote cultural exchange, develop and nurture long-term partnerships, initiate co-productions and support residencies.

    swissnex China is the Science Consulate of Switzerland for China, which builds bridges by connecting Switzerland and China in education, research and innovation. By crossing conventional boundaries, we offer a platform to foster collaboration and creativity for inspiring research and ground-breaking innovation. swissnex is the Swiss global network connecting the dots in education, research, and innovation. Its mission is to support the outreach and active engagement of its partners in the international exchange of knowledge, ideas and talent.

     


    Speaker:

    Pony Express

    Date: 

    2019.10.27 (Sunday)

    Time: 

    2:00 - 4:00

    Venue: 

    Chronus Art Center, Building 18, No.50 Moganshan Road, Shanghai

    Language: 

    English (with Chinese translation)

     

    What should we be calling our present geological age? Working with communities of artists, thinkers, and ecological visionaries, Pony Express invite you to join the Epoch Wars, a proposed intervention into the heated debate currently unfolding around what to name Earth's next era.

    Epoch Wars responds to the discourse around the naming of the so-called “Anthropocene” epoch. The word ‘Anthropocene’, the human-recent era, is understood to mean the age of Earth’s history defined by humankind as a geological force. In 2020, the word ‘Anthropocene’ will be submitted by a small coalition for approval at the 36th International Geological Congress on its way towards formal adoption into the fossil record. ‘Anthropocene’ has gained popularity across the arts, academia, and journalism as a way to articulate the anxieties and horrors of our present day – but at what cost?

    With Epoch Wars, Pony Express are subverting the process of geological nomenclature to highlight alternative voices and visions for the naming our era.  Who is and isn't invited to the table when making a decision on behalf of the next 10,000 generations?  How does the name of our era impact the way we negotiate our place in the world? To enter the Epoch Wars is to ask: what is the name of a future worth dying in?

     

    credit to the artists

     

    < Additional reading > 

     

    - Written in Stone by James Westcott (https://aeon.co/essays/is-rushing-to-declare-the-anthropocene-also-human-error)

    - Have We Entered A New Phase of Planetary History by Nicole Davidson (https://www.theguardian.com/environment/2019/may/30/anthropocene-epoch-have-we-entered-a-new-phase-of-planetary-history#img-4)

    - Against the Official Anthropocene by CJ Cuomo. (https://petitions.moveon.org/sign/against-the-official-2)

    - Artists affirming the name "Anthropocene" through their work: Edward Burtynsky (https://theanthropocene.org/)

    - Artists using their own alter-epoch name as an extension of their branding: Tomas Saraceno (https://aerocene.org/)

    - Glenn Albrecht on Exiting the Anthropocene and Entering the Symbiocene (https://www.humansandnature.org/exiting-the-anthropocene-and-entering-the-symbiocene)

    - Anthropocene, Capitalocene, Chthulucen(https://www.youtube.com/watch?v=GrYA7sMQaBQ)

    - The GSSP or Golden Spike: these are markers used to declare the boundary of a geological epoch by the chronostratigraphic community (https://en.wikipedia.org/wiki/Global_Boundary_Stratotype_Section_and_Point)

    - The Anthropocene Working Group; the committee of 34 members advancing the name as a scientific truth (http://quaternary.stratigraphy.org/working-groups/anthropocene/)

    - Why must the Anthropocene be a Manthropocene by Kate Raworth (https://www.theguardian.com/commentisfree/2014/oct/20/anthropocene-working-group-science-gender-bias)

    Epoch Wars by Pony Express Preview: https://vimeo.com/212228558

    More From Pony Express on Vimeo: https://vimeo.com/helloponyexpress

     

     

    About the Speaker

     

    Pony Express is an experimental, Live Art duo led by Ian Sinclair and Loren Kronemyer. Through their pandrogynous collaborative process, Pony Express work across platforms of media art, performance, video and transdisciplinary research, creating immersive alternate realities that reflect themes of adaptation, global weirding and the slow apocalypse. They present their work in a diverse array of traditional and non-traditional venues, cooperating with communities, organisations and subcultures at the forefront of environmental futures.  The duo focus on queer ecologies and nonhuman politics to build worlds that trouble the ethical landscape of the present day.

    Pony Express are seasonal lecturers at the Iceland University of the Arts, Listaháskóli Íslands and have exhibited or toured nationally and internationally including Fórum do Futuro Porto; Santarcangelo Festival; DARK MOFO; Underbelly Festival; Fringe World; Perth Institute of Contemporary Arts; Climate Century and Adhocracy – Vital Statistix; LiveWorks Festival of Experimental Art; Next Wave Festival; NIDA Art Colony - Vilnius Academy of Arts; Westspace Gallery; OktoLab Artback NT; Institute of Marine and Antarctic Studies; Constance ARI; CP Projects Space; New York School of Visual Arts and the Australian Centre for Photography.

    www.helloponyexpress.com

    Date: 

    2019.09.28 (Saturday)

    Time: 

    11:00 – 16:00

    Artist:

    Claire Glanois, Vytas Jankauskas

    Language: 

    English

    Venue: 

    Open Hub @Chronus Art Center (BL No.18, No.50 Mo Gan Shan Rd, Shanghai)

    Admission Fee:

    Workshop                       200RMB

    CAC Membership           160RMB

    Join CAC Membership today to enjoy 20% discount.

     

    The data we produce online is often distributed between various parties interested in knowing more about us. New insights are generated as machine learning algorithms help speculate about users' personalities, physical or psychological states, aspirations, among others. This information helps entities such as advertisers or corporations target individuals or groups with tailored products and services.

     

    CAC Atelier ‘Shoppers Exposed’ will look into artificial intelligence as means to profile us based on individual consumer patterns. By exploring online purchase histories, identifying consumer types, we will discuss the human biases underlying algorithmic classification. We will play around and collectively re-appropriate customer taxonomies in an attempt to transgress normative labels. Based on the wordplay and semantics present in the product’s title, a new machine learning algorithm will be trained. The scope of the activity will therefore be to creatively grasp on how machine learning and predictive analytics work, rather than technocratically reverse-engineering their frameworks.

     

    Drawing upon the semantic poetry of the product titles generated by our algorithm, we will try to imagine the next ‘perfect product’ in a world of overabundant commodities. What might our previously labeled  ‘sociopath gamer’, ‘impulsive entrepreneur’, or ‘confused artist’ buy next? We will use collage and rapid prototyping to embody new-even potentially absurd, useless or extravagant-hybrids of devices or services.

     

    Multi-function Emotional Shake Machine, final product sample ©️ Courtesy the artist

     

    We will discuss how easy, hard, objective, biased, or ethically-challenging it may be to deploy algorithmic assessment on our digital profiles. We will reflect on the data we produce, the impact as well as the limits of statistical stereotypes attributed to our consumption. As part of the process we will learn practical skills in machine learning, data labelling, and creative prototyping.

     

    Schedule  

    11:00 - 11:30 What Can We Learn from our Purchase History? 

    Introduction / ‘big data’, predictive analysis, ‘machine learning’, and what does it mean for us. 

    Examples of implementation, their critique, and related artistic projects.

    11:30 - 12:30 Shoppers Exposed Pt.I

    Creating a labelled dataset: Imagining new consumer types based on our digital purchase history.

    Techniques used in consumer quantification: machine learning, clustering, similarity metrics.

     

    12:30 - 13:30 Lunch

    13:30 - 14:30 Shoppers Exposed Pt.II

    Collectively training a machine learning algorithm based on product titles and previously attributed consumer labels.

    14:30 - 16:00 You Might Want to Buy This Next

    Prototyping new products our consumers would like to buy.Final presentation and feedback

     

    Workshop Requirements 

    1.  Ideally please bring your laptop

    2.  Please bring a spreadsheet file (.csv/.xls/.xlss) with a selection of 10 previous TaoBao purchases (Title, Price, split in separate columns)

    3.  No previous coding experience necessary

     

     

    About the Facilitators 

    Claire Glanois is an abstract mathematician whose work is situated at the crossroad of number theory, algebraic geometry and quantum field theory. Aside, she regularly engages in civic and non-profit projects, notably to open-up spaces for algorithmic diversity and transparency.

     

    Vytas Jankauskas is an artist, designer, and researcher interested in how emerging technologies inhabit and shape our domestic mundane. His practice encompasses the Internet of Things, data ownership, digital citizenship, social media and their influence on our everyday. He has recently joined CAC as the new Head of Research/Creation at CAC_LAB.

     

     Powered by <CAC_Lab> 

    <CAC_LAB> is a space dedicated to the inquiry of present-day matters regarding art, design, science, technology and their impact on global contemporary culture and society. Through artistic practice, technological tools and research methodology, we enable creative processes that result in works of art of high production and academic value. <CAC_LAB> is a space of flux which encourages artistic practice as a generator of new knowledge, a territory where art and science converge into a contemporary and experimental field of academic research; free from mainstream cultural thought, technological stress and economical diversions.

    lab.chronusartcenter.org

    Led by:

    Gordan Savicic, Juan Gomez

    Date: 

    2019.10.06 (Sunday)

    Time: 

    11:00 - 16:00

    Venue:

    Open Hub @Chronus Art Center, Building 18, No.50 Moganshan Road, Shanghai

    Language: 

    English (with assistance in Chinese)

    Admission Fee:

    Workshop                       80RMB

    CAC Membership           64RMB

     

    About the Workshop 

    What influence do media technologies have on society and its institutions and on our individual actions? How can (semi) - autonomous actors intervene in social media environments and take up a life of their own? Gordan Savicic and Juan Gomez will explore these questions at the workshop at Chronus Art Center. 
     

     

    Participants will gain hands-on knowledge of techniques implemented for the web 2.0 Suicide Machine, using a tool for automated web applications testing. Gordan and Juan will bring you an overview of media hacking practices, and recent web-based network technologies used to program our online experience. You will be introduced into writing simple code for your own projects. This technique could be useful for interventionist tactics and critical hacks within social media. Web-related programming skills desired, but not absolutely necessary!

     

     ©️ Courtesy the artist

     

    About the Speaker and Tutor 

     

    Gordan Savičić is a creative technologist, artist and designer whose work investigates the relationship between people, networks and interfaces. He has a background in media art and visual communication, and he has been active within the fields of academic research, teaching and design industry. His preferred location is the Internet spending his weekends at localhost.

     

    Juan Gomez currently living in Geneva, Switzerland. Juan is working in the intersection between art and design. His current interest is in the materialisation of social technologies in temporal urban spaces and their potential for generating valuable discussions. In Geneva, he is the content coordinator of the Center for Future Publishing, where he hosts a monthly event inviting artists, philosophers and designers to engage a discussion on how their practice is touched by contemporary changes in publishing.