This Too Is a Territory
Navigating Digital Frontiers
Computer-generated realms represent uncharted virtual territories, and a virtual territory is not just a map but a lifeworld with its own existence, intricately linked to the tangible ground beneath us. Just like that tangible ground, a territory can be subject to colonization when it is computer-generated and algorithmically powered; here a distinct form of extractivism emerges, for the valuable resource is the data supplied by human developers and users. Data colonialism, like other colonialisms, relies on the exploitation of individuals and the monetization of life through data, mirroring the appropriation of territory and resources for profit. In the ARE YOU FOR REAL 4th cluster, virtual or digital docufictions allude to negotiation, democratic decision-making, and social welfare while also unveiling a cosmogenic business strategy that engineers the future and pointing to the extractivist relationship that mankind (man as a proxy for the most powerful) has to every living thing.
The fourth cluster, “This Too Is a Territory – Navigating Digital Frontiers”, features artworks that explore uncharted algorithmic territories in a quest to critically uncover forms of agency, resistance, and resilience. They pose questions about whether Web 3.0 holds the promise of a decentralized and federated internet, yet also reveal its revitalization of extractive fantasies on the internet and marketing schemes. They suggest that world-building may give rise to tactical algorithmic agency—the capacity for people to actively shape the outcome of corporations’ algorithmic computation for their own benefit.
Drawing from past examples, this cluster examines the possible repurposing of hegemonic technological infrastructures towards more equitable economic and social practices; offers a hallucinogenic 3D platform collaging the “new worlds” of past colonial expansions with the new virtual territories of speculative real estate on the metaverse; speculates around the digital reappropriation of real-world territories affected by climate change acceleration; uses algorithmic strategies to reveal the complex structure of outsourced labor; and analyses how blockchain is used to cross borders and extract resources—including land, labor, data, privacy—from those most in need. As Nelly Y. Pinkrah’s text A matter of time… and other things that cannot be determined aptly states: “What this collapse has laid bare we ought to never forget again: power (belongs) to the people, and it resides in their relationships. It resides in their modes, movements, and (im)materialities in solidarity.”
Cybersyn 1973/2023
Bassam el Baroni, Constantinos Miltiadis, Georgios Cherouvim and Gerriet K. Sharma (aka. Grupo Synco)
Project Cybersyn was an experiment in instituting a socialist networked economy embraced by the short-lived Salvador Allende government of Chile (1970 – 1973) and developed together with the British cybernetician Stafford Beer. For the past decade, Project Cybersyn has been a recurrent reference – a best practice from the past – in discussions around the repurposing of hegemonic technological infrastructures and their redirection towards more equitable economic and social practices. The iconic image of Project Cybersyn’s control room – with its sci-fi appearance – represents a technical and aesthetic object that alludes to negotiation, democratic decision making, and social welfare. The allure of this image is the starting point for the video which proposes that desires for post-scarcity and postcapitalist economics must grapple with the shifts in the political, economic, and technological conditions of possibility that have transpired since Project Cybersyn. To this end the control room image itself becomes a platform for alien mutations, philosophical speculations, and social commitments. What would it take to reimagine the artefactual Cybersyn for our hyper-financialized day and age? For this work, curator and researcher Bassam El Baroni and transdisciplinary architect Constantinos Miltiadis collaborated with multidisciplinary artist and animator Georgios Cherouvim, and composer and sound artist Gerriet K. Sharma to bring this question to life.
Bassam El Baroni is associate professor in curating at the Dept. of Art & Media, Aalto University and an independent curator based in Helsinki.
Constantinos Miltiadis is a transdisciplinary architect, programmer, virtual architecture researcher at Aalto University, librarian, and occasional media artist & curator.
Georgios Cherouvim is a multidisciplinary artist and educator from Athens who lives and works in Brooklyn. He works in the fields of computer animation, creative programming, and new media.
Gerriet K. Sharma is a Berlin-based composer, sound artist, and artistic researcher specializing in spatial practices.
Concept: Bassam El Baroni and Constantinos Miltiadis
Production: Georgios Cherouvim (animation) and Gerriet K. Sharma (music and sound)
Video Credits:
Concept: Bassam El Baroni and Constantinos Miltiades, Screenplay: Bassam El Baroni, Voice actors: Bassam El Baroni, Andreas Kelemen, Constantinos Miltiades, and Edel O’Reilly. Animation Director: Georgios Cherouvim; Modeling: Katerina Lakovaki; Illustration: Ino Zavvou and Andreas Kelemen; Rendering support: Dimitris Liatsos; Special thanks: Agelos Christopoulos, Omer Shapira, Liz Ran Yang.
Audio Credits: Music and Sound by Gerriet K. Sharma.
Outsourcing paradise (parasite)
eeefff
2021-ongoing
Algorithm implemented in JavaScript, video, image, and subtitle files
eeeffff used an online recruitment platform to look for workers whose labor is largely invisible behind the ceaseless work of algorithms. The aim was to break the production cycle of macro and micro tasks, stress tests, call rounds, and image and text recognition, to create an imaginary outsourcing paradise where outsourced workers could voice their alienation or live it in different ways. Outsourcing can be considered a radical division of labor driven by enterprises’ need to cut costs and raise efficiency. Remote work costs less. It is inseparable from developments in communication and information technology and from neoliberal economics. A logical development of the process is what corporations promote as a sharing economy but what is essentially a form of outsourcing for the customer: some people order things, others hire things, corporations build platforms for their interaction. Outsourcing paradise (parasite) unfolds as an online generative narrative. Videos, CSS, jpeg files, fonts, and JavaScript infuse the host webpage to gradually replace its elements with parasitical digital objects.
eeefff (Minsk/Berlin) are artistic cooperation / made-up institution / cybernetic political brigade / poetic computations / hacking unit / queer time. It is neither one of these, nor all together. active from 2013. eeefff make software-based projects, publications, networks, and platforms that critically explore digital labour, value extraction, and community formation. methods include: public actions, online interventions, performative seminars, software and hardware hacking, framing environments and choreographing social situations. more info can be found here
The Rig, 01 is a mixed-media video piece exploring a futuristic world in which the narrator, voiced by the artist, has taken over an abandoned oil rig and reclaimed it as her new home. This world is one in which climate change has accelerated, impacting the artist and narrator's home state of Louisiana. Like many US states along the Gulf of Mexico, Louisiana has an economy deeply intertwined with and dependent upon the environment-ravaging oil and petroleum industry. Small-scale oil rigs dot its swamps and the Gulf of Mexico, many abandoned or closed by the companies that built them. Caroline Sinders found one such abandoned rig in generating the videos and images for this project. In The Rig, 01, the artist grapples with both grief and hope, finding resilience in nature’s retaking of the oil rig—including a barrel yielding magnolias, the flower of Louisiana.
Caroline Sinders is a critical designer, researcher, and artist. They are the founder of Convocation Research + Design, which deals with design and human rights. In recent years they have been examining how artificial intelligence, intersectional justice, systems design, harm, and politics come together in digital conversational spaces and technology platforms. They have worked with the Tate Exchange at Tate Modern, the United Nations, the UK Information Commissioner's Office, the European Commission, Ars Electronica, and Harvard Kennedy School, among other institutions. Caroline is currently based between London and New Orleans.
To understand blockchain we must go beyond cryptocurrency investments, NFTs, and metaverses to bring the user closer to the wider reality. We need to investigate the relevant relationships between planetary resources, energy consumption, human labor, economics, surveillance, and privacy. The platforms, infrastructures, devices, sensors, corporations, governments, and individuals involved in these relationships form a picture of blockchain that is complex and difficult to visualize as a whole. An Atlas to Track Blockchain Colonialism aims to monitor how blockchain has been used by individuals, corporations, and governments to cross borders and extract resources—such as land, labor, data, and privacy—from those most in need. Silicon Valley Imperialism is the first map in an ongoing series.
César Escudero Andaluz is an artist focused on digital cultures, interface criticism, and the social and political effects of both. In artworks that combine interfaces, electronics, images, interactive aspects, critically designed robotics, media archaeology, and digital humanities, César addresses issues such as dataveillance, algorithm governance, tactical interfaces, and critical mining. Website
Mundus Novus is a hallucinogenic 3D environment built out of land-grab fantasies transferred from colonized real-place to virtual property. Past, present, and future visions of an infinite frontier merge as Mundus Novus collages the “new worlds” of past colonial expansions with the new metaverse territories of speculative real-estate. Extracts from European settlers’ memoirs as they landed in the Americas–such as the Mayflower “pilgrims” who settled in the Plymouth Colony in current-day Massachusetts—furnish the dreamscape, which also takes inspiration from the marketing schemes and pretend plays of Web 3.0 adherents who have revitalized the settlers’ extractive fantasies on the internet. These schemes rely on the fiction of metaverse as technological inevitability—a new world into which we all, eventually and wholly, move our lives. A cosmogenic business strategy: one that engineers the future as part of the cosmos constructed for sale.
BAHAR NOORIZADEH looks at the relationship between art and capitalism. Her practice as an artist, writer, and filmmaker examines the conflictual and contradictory notions of imagination and speculation as they suffuse one another. Her research investigates the histories of economics, cybernetic socialism, and activist strategies against the financialization of life and living space, asking what redistributive historical justice would look like for the present. Noorizadeh is the founder of Weird Economies, a co-authored socially connected project that traces economic imaginaries that are extraordinary to the financial arrangements of our time. She completed a PhD in art at Goldsmiths, University of London and is currently associate lecturer at RCA School of Architecture and the Design Academy Eindhoven.
Privacy Policy
Note: This is a translation of the legally accurate and binding German original. In case of discrepancy, the German original shall prevail. Please see below for German version
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Pursuant to sec. 7, 1, German Telemedia Act (Telemediengesetz TMG), ifa (Institut für Auslandsbeziehungen) is responsible under general legislation for its own content on this website. Pursuant to secs. 8-10 TMG, ifa is not under the obligation to monitor any third-party information that is transferred or stored or to investigate circumstances that are indicative of illegal activity. Any obligations under general legislation to remove or block the use of information shall remain hereby unaffected. However, liability regarding such matters shall only apply at such point in time when ifa is notified or becomes aware of a specific infringement. As soon as ifa becomes aware of such infringement, the relevant content will be removed immediately.
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There is no software