Creative Crowds wiki - User contributions [en]

Toward a Minor Tech:Contributors

2023-01-20T16:21:41Z

Menotti:

'''Christian Ulrik Andersen''', Digital Aesthetics Research Center, Aarhus University, is attempting to bring the knowledge and practices of digital culture and art to the fore.

'''Geoff Cox''' is Professor of Art and Computational Culture at London South Bank University, and co-director of Centre for the Study of the Networked Image (CSNI), working across software studies and contemporary aesthetics.

'''Camille Crichlow''' is a PhD Researcher at the Sarah Parker Remond Centre for the Study of Racism and Racialisation (University College London). Her research interrogates how the historical and socio-cultural narrative of race manifests in contemporary algorithmic technologies.

From a network of '''Feminist Servers''' the following authors contributed: mara karagianni - artist, software, sysadmin, ooooo - Transuniversal constellation, nate wessalowski - PhD student at Münster University, vo ezn - sound && infrastructure artist.

'''Teodora Sinziana Fartan''' is an artist and PhD researcher at CSNI, London South Bank University.

'''Susanne Förster''' is a PhD candidate and research associate at the University of Siegen. Her work deals with imaginaries and infrastructures of conversational artificial agents.

'''Inte Gloerich''' (Utrecht University & Institute of Network Cultures) researches sociotechnical imaginaries around blockchain technology as they appear in for instance memes, startup culture, and art.

'''Daniel Chávez Heras''' is Lecturer in Digital Culture and Creative Computing at King's College London. He studies the computational production and analysis of visual culture.

'''Macon Holt''' is a a Post-Doctoral researcher at Copenhagen Business School. He is author of 'Pop Muisc and Hip Ennui. A Sonic Fiction of Capitalist Realism' (Bloomsbury, 2020).

'''Jung-Ah Kim''' is a PhD researcher in Screen Cultures and Curatorial Studies at Queen’s University. She studies the relationship between weaving and computing and traditional Korean textiles.

'''Inga Luchs''' is a PhD candidate at the University of Groningen. In her research, she deals with questions of data classification and discrimination from a cultural and technical perspective.

'''Gabriel Menotti''' is Associate Professor in Film & Media at Queen's University and an independent curator, and co-cordinates the Besides the Screen network.

'''Alasdair Milne''' is a PhD researcher with Serpentine Galleries’ Creative AI Lab and King’s College London. His work focuses on the collaborative systems that emerge around new technologies.

'''Anna Mladentseva''' is a PhD researcher at University College London whose project focuses on the conservation of software-based works of art and design from the Victoria & Albert museum.

'''Edoardo Lomi''' is a PhD Fellow at Copenhagen Business School. His project focuses on the palliative care of digital infrastructures.

'''Shusha Niederberger''' is a PhD researcher based at Zurich University of the Arts and working on user subject positions in datafied environments and aesthetic strategies of using otherwise.

'''Søren Bro Pold''' Digital Aesthetics Research Center, Aarhus University, works with the arts of the interface and interface criticism.

'''Roel Roscam Abbing''' is a PhD researcher in Interaction Design at Malmö University's School of Arts and Communication. There he studies alternative and federated social media systems.

'''Winnie Soon''' is a Hong Kong-born artist coder and researcher, engaging with themes such as Free and Open Source Culture, Coding Otherwise, artistic/technical manuals and digital censorship.

'''Magdalena Tyżlik-Carver''' ferments data and investigates Critical Data and related practices through curating. She is Associate Professor in Digital Design and Information Studies at Aarhus University.

'''Varia''' is a space for developing collective approaches to everyday technology. https://varia.zone

'''Jack Wilson''' is a PhD researcher at the University of Warwick’s Centre for Interdisciplinary Methodologies. He is not a conspiracy theorist.

'''xenodata co-operative''' investigates image politics, algorithmic culture and technological conditions of knowledge production and governance through art and media practices. The collective is run by curator Yasemin Keskintepe and artist-researcher Alexandra (Sasha) Anikina.

'''Sandy Di Yu''' is a PhD researcher at the University of Sussex and co-managing editor of DiSCo Journal (www.discojournal.com), using digital artist critique to examine shifting experiences of time.

'''Freja Kir''' is researching across intersections of artistic methods, spatial publishing and digital media environments. Creatively directing fanfare – collective for visual communication. Contributing to stanza – studio for critical publishing. PhD researcher, University of West London.

Toward a Minor Tech:Contributors

2023-01-20T15:51:29Z

Menotti:

'''Christian Ulrik Andersen''', Digital Aesthetics Research Center, Aarhus University, is attempting to bring the knowledge and practices of digital culture and art to the fore.

'''Geoff Cox''' is Professor of Art and Computational Culture at London South Bank University, and co-director of Centre for the Study of the Networked Image (CSNI), working across software studies and contemporary aesthetics.

'''Camille Crichlow''' is a PhD Researcher at the Sarah Parker Remond Centre for the Study of Racism and Racialisation (University College London). Her research interrogates how the historical and socio-cultural narrative of race manifests in contemporary algorithmic technologies.

From a network of '''Feminist Servers''' the following authors contributed: mara karagianni - artist, software, sysadmin, ooooo - Transuniversal constellation, nate wessalowski - PhD student at Münster University, vo ezn - sound && infrastructure artist.

'''Teodora Sinziana Fartan''' is an artist and PhD researcher at CSNI, London South Bank University.

'''Susanne Förster''' is a PhD candidate and research associate at the University of Siegen. Her work deals with imaginaries and infrastructures of conversational artificial agents.

'''Inte Gloerich''' (Utrecht University & Institute of Network Cultures) researches sociotechnical imaginaries around blockchain technology as they appear in for instance memes, startup culture, and art.

'''Daniel Chávez Heras''' is Lecturer in Digital Culture and Creative Computing at King's College London. He studies the computational production and analysis of visual culture.

'''Jung-Ah Kim''' is a PhD researcher in Screen Cultures and Curatorial Studies at Queen’s University. She studies the relationship between weaving and computing and traditional Korean textiles.

'''Inga Luchs''' is a PhD candidate at the University of Groningen. In her research, she deals with questions of data classification and discrimination from a cultural and technical perspective.

'''Gabriel Menotti''' is Associate Professor in Film & Media at Queen's University and an independent curator.

'''Alasdair Milne''' is a PhD researcher with Serpentine Galleries’ Creative AI Lab and King’s College London. His work focuses on the collaborative systems that emerge around new technologies.

'''Anna Mladentseva''' is a PhD researcher at University College London whose project focuses on the conservation of software-based works of art and design from the Victoria & Albert museum.

'''Shusha Niederberger''' is a PhD researcher based at Zurich University of the Arts and working on user subject positions in datafied environments and aesthetic strategies of using otherwise.

'''Søren Bro Pold''' Digital Aesthetics Research Center, Aarhus University, works with the arts of the interface and interface criticism.

'''Winnie Soon''' is a Hong Kong-born artist coder and researcher, engaging with themes such as Free and Open Source Culture, Coding Otherwise, artistic/technical manuals and digital censorship.

'''Magdalena Tyżlik-Carver''' ferments data and investigates Critical Data and related practices through curating. She is Associate Professor in Digital Design and Information Studies at Aarhus University.

'''Varia''' is a space for developing collective approaches to everyday technology. https://varia.zone

'''Jack Wilson''' is a PhD researcher at the University of Warwick’s Centre for Interdisciplinary Methodologies. He is not a conspiracy theorist.

'''xenodata co-operative''' investigates image politics, algorithmic culture and technological conditions of knowledge production and governance through art and media practices. The collective is run by curator Yasemin Keskintepe and artist-researcher Alexandra (Sasha) Anikina.

'''Sandy Di Yu''' is a PhD researcher at the University of Sussex and co-managing editor of DiSCo Journal (www.discojournal.com), using digital artist critique to examine shifting experiences of time.

'''Freja Kir''' is researching across intersections of artistic methods, spatial publishing and digital media environments. Creatively directing fanfare – collective for visual communication. Contributing to stanza – studio for critical publishing. PhD researcher, University of West London.

Toward a Minor Tech:Contributors

2023-01-20T15:50:12Z

Menotti:

'''Christian Ulrik Andersen''', Digital Aesthetics Research Center, Aarhus University, is attempting to bring the knowledge and practices of digital culture and art to the fore.

'''Geoff Cox''' is Professor of Art and Computational Culture at London South Bank University, and co-director of Centre for the Study of the Networked Image (CSNI), working across software studies and contemporary aesthetics.

'''Camille Crichlow''' is a PhD Researcher at the Sarah Parker Remond Centre for the Study of Racism and Racialisation (University College London). Her research interrogates how the historical and socio-cultural narrative of race manifests in contemporary algorithmic technologies.

From a network of '''Feminist Servers''' the following authors contributed: mara karagianni - artist, software, sysadmin, ooooo - Transuniversal constellation, nate wessalowski - PhD student at Münster University, vo ezn - sound && infrastructure artist.

'''Teodora Sinziana Fartan''' is an artist and PhD researcher at CSNI, London South Bank University.

'''Susanne Förster''' is a PhD candidate and research associate at the University of Siegen. Her work deals with imaginaries and infrastructures of conversational artificial agents.

'''Inte Gloerich''' (Utrecht University & Institute of Network Cultures) researches sociotechnical imaginaries around blockchain technology as they appear in for instance memes, startup culture, and art.

'''Daniel Chávez Heras''' is Lecturer in Digital Culture and Creative Computing at King's College London. He studies the computational production and analysis of visual culture.

'''Jung-Ah Kim''' is a PhD researcher in Screen Cultures and Curatorial Studies at Queen’s University. She studies the relationship between weaving and computing and traditional Korean textiles.

'''Inga Luchs''' is a PhD candidate at the University of Groningen. In her research, she deals with questions of data classification and discrimination from a cultural and technical perspective.

'''Gabriel Menotti''' is Associate Professor in Film & Media at Queen's University and independent curator.

'''Alasdair Milne''' is a PhD researcher with Serpentine Galleries’ Creative AI Lab and King’s College London. His work focuses on the collaborative systems that emerge around new technologies.

'''Anna Mladentseva''' is a PhD researcher at University College London whose project focuses on the conservation of software-based works of art and design from the Victoria & Albert museum.

'''Shusha Niederberger''' is a PhD researcher based at Zurich University of the Arts and working on user subject positions in datafied environments and aesthetic strategies of using otherwise.

'''Søren Bro Pold''' Digital Aesthetics Research Center, Aarhus University, works with the arts of the interface and interface criticism.

'''Winnie Soon''' is a Hong Kong-born artist coder and researcher, engaging with themes such as Free and Open Source Culture, Coding Otherwise, artistic/technical manuals and digital censorship.

'''Magdalena Tyżlik-Carver''' ferments data and investigates Critical Data and related practices through curating. She is Associate Professor in Digital Design and Information Studies at Aarhus University.

'''Varia''' is a space for developing collective approaches to everyday technology. https://varia.zone

'''Jack Wilson''' is a PhD researcher at the University of Warwick’s Centre for Interdisciplinary Methodologies. He is not a conspiracy theorist.

'''xenodata co-operative''' investigates image politics, algorithmic culture and technological conditions of knowledge production and governance through art and media practices. The collective is run by curator Yasemin Keskintepe and artist-researcher Alexandra (Sasha) Anikina.

'''Sandy Di Yu''' is a PhD researcher at the University of Sussex and co-managing editor of DiSCo Journal (www.discojournal.com), using digital artist critique to examine shifting experiences of time.

'''Freja Kir''' is researching across intersections of artistic methods, spatial publishing and digital media environments. Creatively directing fanfare – collective for visual communication. Contributing to stanza – studio for critical publishing. PhD researcher, University of West London.

Toward a Minor Tech:Menotti-500

2023-01-20T15:47:37Z

Menotti:

[[Category:Toward a Minor Tech]]
[[Category:500 words]]
'''Moving Textures'''

'''Gabriel Menotti'''

So-called poor media has a wealth of its own. TikTok choreographies and ASMR voiceovers win at the attention economy also because they achieve affective responses disproportionate to their modest (re)production requirements. There isn’t much to see, and it rarely matters what is being said. Through localized – and rather specific – stimuli, these and other kinds of oddly satisfying content overpower the available sensoria.

What could otherwise be taken as a formal deficit is at the core of this hypnotic potential. As a minor genre sitting at the fringes of commercial entertainment, oddly satisfying media seems to capitalize on the singular qualities of the ''textural''. Textures, as once defined by Eve Segdwick, constitute “an array of perceptual data […] whose degree of organization hovers just below the level of shape or structure” (2003, 16). This structural insufficiency may lead to a short-circuiting of perception that supplies the feeling of physical properties not immediately present or represented. As one probably knows, particularly textural sights and sounds are often said to unfold through the sense of touch. Textures, in that regard, bear some sort of ''synesthetic density''.

This large capacity for sensorial excitement makes textures instrumental for the aesthetic economy of digital media. As an actual component of digital assets, textures underpin hyperrealism and special effects alike, conveying high-fidelity sensation with little transmission of information.

The textural character of oddly satisfying media becomes evident in their propensity towards kinetic abstraction. Any meaning they may express is of little relevance and often interchangeable by any other. The logic under which they operate is above all ''phatic'': more than signals to be decoded, oddly satisfying media propagates (like) frequencies to be vibed with. Transduction, rather than communication, is the name of this game. External references become subsumed under the pure concatenation of internal motion. By way of cognitive arrest and compulsion, moving textures integrate bodies into the otherwise incommensurable workings of media technologies, facilitating our couplings with the machine.

What follows feels like the surrender of agency. As consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.

Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, playing its part in the disintegration of public spheres as it substitutes meaningful exchanges by a diffuse atmosphere of amorphous comfort - clogging the wires while transmuting people into views, likes, and subscribers.
[[File:Dreammachine.jpg|thumb|A dreamachine (Gareth Spor, Wikimedia Commons, 2008).]]

Toward a Minor Tech:Menotti-500

2023-01-20T15:43:31Z

Menotti: Added image

[[Category:Toward a Minor Tech]]
[[Category:500 words]]
'''Moving Textures'''

'''Gabriel Menotti'''

So-called poor media has a wealth of its own. TikTok choreographies and ASMR voiceovers win at the attention economy also because they achieve affective responses disproportionate to their modest (re)production requirements. There isn’t much to see, and it rarely matters what is being said. Through localized – and rather specific – stimuli, these and other kinds of oddly satisfying content overpower the available sensoria.

What could otherwise be taken as a formal deficit is at the core of this hypnotic potential. As a minor genre sitting at the fringes of commercial entertainment, oddly satisfying media seems to capitalize on the singular qualities of the ''textural''. Textures, as once defined by Eve Segdwick, constitute “an array of perceptual data […] whose degree of organization hovers just below the level of shape or structure” (2003, 16). This structural insufficiency may lead to a short-circuiting of perception that supplies the feeling of physical properties not immediately present or represented. As one probably knows, particularly textural sights and sounds are often said to unfold through the sense of touch. Textures, in that regard, bear some sort of ''synesthetic density''.

This large capacity for sensorial excitement makes textures instrumental for the aesthetic economy of digital media. As an actual component of digital assets, textures underpin hyperrealism and special effects alike, conveying high-fidelity sensation with little transmission of information.

The textural character of oddly satisfying media becomes evident in their propensity towards kinetic abstraction. Any meaning they may express is of little relevance and often interchangeable by any other. The logic under which they operate is above all ''phatic'': more than signals to be decoded, oddly satisfying media propagate (like) frequencies to be vibed with. Transduction, rather than communication, is the name of this game. External references become subsumed under the pure concatenation of internal motion. By way of cognitive arrest and compulsion, moving textures integrate bodies into the otherwise incommensurable workings of media technologies, facilitating our couplings with the machine.

What follows feels like the surrender of agency. As consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.

Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, playing its part in the disintegration of public spheres as it substitutes meaningful exchanges by a diffuse atmosphere of amorphous comfort - clogging the wires while transmuting people into views, likes, and subscribers.
[[File:Dreammachine.jpg|thumb|A dreamachine (Gareth Spor, Wikimedia Commons, 2008).]]

File:Dreammachine.jpg

2023-01-20T15:42:40Z

Menotti:

A dream machine (Gareth Spor, Wikimedia Commons, 2008).

Toward a Minor Tech:Menotti-500

2023-01-20T15:30:59Z

Menotti: Added image

[[Category:Toward a Minor Tech]]
[[Category:500 words]]
'''Moving Textures'''

Gabriel Menotti

So-called poor media has a wealth of its own. TikTok choreographies and ASMR voiceovers win at the attention economy also because they achieve affective responses disproportionate to their modest (re)production requirements. There isn’t much to see, and it rarely matters what is being said. Through localized – and rather specific – stimuli, these and other kinds of oddly satisfying content overpower the available sensoria.

What could otherwise be taken as a formal deficit is at the core of this hypnotic potential. As a minor genre sitting at the fringes of commercial entertainment, oddly satisfying media seems to capitalize on the singular qualities of the ''textural''. Textures, as once defined by Eve Segdwick, constitute “an array of perceptual data […] whose degree of organization hovers just below the level of shape or structure” (2003, 16). This structural insufficiency may lead to a short-circuiting of perception that supplies the feeling of physical properties not immediately present or represented. As one probably knows, particularly textural sights and sounds are often said to unfold through the sense of touch. Textures, in that regard, bear some sort of ''synesthetic density''.

This large capacity for sensorial excitement makes textures instrumental for the aesthetic economy of digital media. As an actual component of digital assets, textures underpin hyperrealism and special effects alike, conveying high-fidelity sensation with little transmission of information.

The textural character of oddly satisfying media becomes evident in their propensity towards kinetic abstraction. Any meaning they may express is of little relevance and often interchangeable by any other. The logic under which they operate is above all ''phatic'': more than signals to be decoded, oddly satisfying media propagate (like) frequencies to be vibed with. Transduction, rather than communication, is the name of this game. External references become subsumed under the pure concatenation of internal motion. By way of cognitive arrest and compulsion, moving textures integrate bodies into the otherwise incommensurable workings of media technologies, facilitating our couplings with the machine.

What follows feels like the surrender of agency. As consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.

Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, playing its part in the disintegration of public spheres as it substitutes meaningful exchanges by a diffuse atmosphere of amorphous comfort - clogging the wires while transmuting people into views, likes, and subscribers.

[[File:Dreammachine.jpg|thumb|left|A dream machine (Gareth Spor, Wikimedia Commons, 2008).]]

Toward a Minor Tech:Menotti-500

2023-01-20T14:51:37Z

Menotti: revision

Toward a Minor Tech:Menotti-500

2023-01-20T14:11:20Z

Menotti: final paragraph

[[Category:Toward a Minor Tech]]
[[Category:500 words]]
'''Moving Textures'''

Gabriel Menotti

So-called poor media has a wealth of its own. TikTok choreographies and ASMR voice overs win at the attention economy also because they achieve affective responses disproportionate to their modest (re)production requirements. There isn’t much to see, and it rarely matters what is being said. Through localized – and rather specific – stimuli, these and other kinds of oddly satisfying content overpower the available sensoria.

What could otherwise be taken as a formal deficit is at the core of this hypnotic potential. As a minor genre sitting at the fringes of commercial entertainment, oddly satisfying media seems to capitalize on the exceptional qualities of the ''textural''. Textures, as defined by Eve Segdwick, constitute “an array of perceptual data […] whose degree of organization hovers just below the level of shape or structure” (2003, 16). This insufficiency may lead to a short-circuiting of perception that supplies the feeling of physical properties not immediately present or represented. As one probably knows, particularly textural sights and sounds are traditionally said to unfold through the sense of touch. Textures, in that sense, bear some sort of ''synesthetic density''.

This capacity to excite multiple senses at once makes textures instrumental for the aesthetic economy of digital media. As an actual component of digital assets, textures underpin hyperrealism and special effects alike, enabling high-fidelity sensation with little information transmission.

The textural character of oddly satisfying media becomes evident in their propensity towards kinetic abstraction. Any meaning they may express is of little relevance and often interchangeable by any other. The logic under which they operate is above all ''phatic'': more than signals to be decoded, oddly satisfying media spread (like) frequencies to be vibed with. Transduction, rather than communication, is the name of the game. External references become subsumed under the pure concatenation of internal motion. By way of cognitive arrest, moving textures integrate bodies into the otherwise incommensurable workings of media technologies, facilitating our coupling with the machine.

What follows feels like the surrender of agency. Just as consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.

Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects and the disintegration of public spheres. An electronic babysitter for the disaffected of any age, substituting meaningful exchanges by a diffuse atmosphere of amorphous comfort – clogging the wires while transmuting people into views, likes, and subscribers.

Toward a Minor Tech:Menotti-500

2023-01-20T14:08:35Z

Menotti: the text, first version

[[Category:Toward a Minor Tech]]
[[Category:500 words]]
'''Moving Textures'''

Gabriel Menotti

So-called poor media has a wealth of its own. TikTok choreographies and ASMR voice overs win at the attention economy also because they achieve affective responses disproportionate to their modest (re)production requirements. There isn’t much to see, and it rarely matters what is being said. Through localized – and rather specific – stimuli, these and other kinds of oddly satisfying content overpower the available sensoria.

What could otherwise be taken as a formal deficit is at the core of this hypnotic potential. As a minor genre sitting at the fringes of commercial entertainment, oddly satisfying media seems to capitalize on the exceptional qualities of the ''textural''. Textures, as defined by Eve Segdwick, constitute “an array of perceptual data […] whose degree of organization hovers just below the level of shape or structure” (2003, 16). This insufficiency may lead to a short-circuiting of perception that supplies the feeling of physical properties not immediately present or represented. As one probably knows, particularly textural sights and sounds are traditionally said to unfold through the sense of touch. Textures, in that sense, bear some sort of ''synesthetic density''.

This capacity to excite multiple senses at once makes textures instrumental for the aesthetic economy of digital media. As an actual component of digital assets, textures underpin hyperrealism and special effects alike, enabling high-fidelity sensation with little information transmission.

The textural character of oddly satisfying media becomes evident in their propensity towards kinetic abstraction. Any meaning they may express is of little relevance and often interchangeable by any other. The logic under which they operate is above all ''phatic'': more than signals to be decoded, oddly satisfying media spread (like) frequencies to be vibed with. Transduction, rather than communication, is the name of the game. External references become subsumed under the pure concatenation of internal motion. By way of cognitive arrest, moving textures integrate bodies into the otherwise incommensurable workings of media technologies, facilitating our coupling with the machine.

What follows feels like the surrender of agency. Just as consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.

Together, the newsfeed and moving textures co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, substituting meaningful exchanges by a diffuse atmosphere of amorphous comfort – clogging the wires while disintegrating public spheres and transmuting people into views, likes, and subscribers.

Toward a Minor Tech:Menotti-500

2023-01-20T12:57:45Z

Menotti:

[[Category:Toward a Minor Tech]]
[[Category:500 words]]
'''Moving Textures'''

Gabriel Menotti

Toward a Minor Tech:Menotti-500

2023-01-20T11:08:54Z

Menotti: page created

[[Category:Toward a Minor Tech]]
[[Category:500 words]]
oi!

Toward a Minor Tech:Contributors

2023-01-20T10:58:36Z

Menotti: added myself

List of contributors here

'''Inga Luchs''' is a PhD candidate at the University of Groningen. In her research, she deals with questions of data classification and discrimination from a cultural and technical perspective.

'''Søren Bro Pold''' (Aarhus University) works with the arts of the interface and interface criticism.

'''xenodata co-operative''' investigates image politics, algorithmic culture and technological conditions of knowledge production and governance through art and media practices. The collective was established by curator Yasemin Keskintepe and artist-researcher Sasha Anikina.

'''Jack Wilson''' is a PhD researcher at the University of Warwick’s Centre for Interdisciplinary Methodologies. He is not a conspiracy theorist.

'''Winnie Soon''' is a Hong Kong-born artist coder and researcher, engaging with themes such as Free and Open Source Culture, Coding Otherwise, artistic/technical manuals and digital censorship.

'''Christian Ulrik Andersen''', Digital Aesthetics Research Center, Aarhus University, is attempting to bring the knowledge and practices of digital culture and art to the fore.

From a collective of '''Feminist Servers''' the following people contributed: Mara Karagianni [they/them] - artist, software, sysadmin, psaroskalazines.gr, ooooo [we] - Transuniversal constellation <nowiki>https://www.ooooo.be</nowiki>, nate wessalowski [they/them] - PhD student at Münster University, Germany, vo ezn

'''Shusha Niederberger''' is a PhD researcher based at Zurich University of the Arts and working on user subject positions in datafied environments and aesthetic strategies of using otherwise.

'''Inte Gloerich''' is a Phd researcher exploring sociotechnical imaginaries around blockchain technology as they appear in for instance memes, startup culture, and art.

'''Gabriel Menotti''' is Associate Professor in Film & Media at Queen's University and an independent curator.

Toward a Minor Tech:HermeticKnowledge

2023-01-20T10:11:01Z

Menotti: page created & populated!

[[Category:Toward a Minor Tech]]
[[Category:Cellular contributions]]
The minor vocabularies of conspiracy theories, crypto, and other forms of secular magic trade in the promises of hermetic knowledge. Feelings of accessing another reality might rather be the effects of producing it by segregating those who are in from those who are out.