Hito Steyerl is rightly considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings offer an astute, provocative, and often funny analysis of the dizzying speed with which images and data are reconfigured, altered, and dispersed, many times over, accelerating into infinity or crashing into oblivion. 0Published to accompany the artist’s survey exhibitions at the Van Abbemuseum, Eindhoven, and the Institute of Modern Art, Brisbane, this book gathers a series of essays and close readings of Steyerl's films from the past ten years. Newly commissioned texts by Sven Lütticken, Karen Archey, Ana Teixeira Pinto, and Nick Aikens, alongside writings by Thomas Elsaesser, Pablo Lafuente, David Riff, and Steyerl, are spliced with over one hundred pages of color stills. This publication is a charged slideshow of the artist’s extraordinary investigations into the status, circulation, and materiality of images.
What is the function of art in the era of digital globalization? How can one think of art institutions in an age defined by planetary civil war, growing inequality, and proprietary digital technology? The boundaries of such institutions have grown fuzzy. They extend from a region where the audience is pumped for tweets to a future of “neurocurating,” in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity. In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world’s most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.
This volume is a collection of essays by the ?lmmaker and author Hito Steyerl and deals with images and sounds that, in a changing world, create new relationships to objects, become objects themselves, and produce other objects and images. English and German text.
How do “human” prejudices reemerge in algorithmic cultures allegedly devised to be blind to them? How do “human” prejudices reemerge in algorithmic cultures allegedly devised to be blind to them? To answer this question, this book investigates a fundamental axiom in computer science: pattern discrimination. By imposing identity on input data, in order to filter—that is, to discriminate—signals from noise, patterns become a highly political issue. Algorithmic identity politics reinstate old forms of social segregation, such as class, race, and gender, through defaults and paradigmatic assumptions about the homophilic nature of connection. Instead of providing a more “objective” basis of decision making, machine-learning algorithms deepen bias and further inscribe inequality into media. Yet pattern discrimination is an essential part of human—and nonhuman—cognition. Bringing together media thinkers and artists from the United States and Germany, this volume asks the urgent questions: How can we discriminate without being discriminatory? How can we filter information out of data without reinserting racist, sexist, and classist beliefs? How can we queer homophilic tendencies within digital cultures?
For over 20 years Sarah Sze (born 1969) has produced celebrated works of art, synthesizing a near boundless range of everyday materials into intricate constructions that are both delicate and overwhelming. Sze's latest site-specific installation at the Rose Art Museum, Timekeeper, combines sculpture, video and installation into a sprawling experiential work that approaches some of the most complex themes of her career: time's passage and its marking in mechanical and biological forms. The Timekeeper installation was a catalyst for a book which explores major new ideas in Sze's work and practice. The ambitious work is extensively documented here alongside significant new texts on Sze, her work and the experience of time.
How do “human” prejudices reemerge in algorithmic cultures allegedly devised to be blind to them? How do “human” prejudices reemerge in algorithmic cultures allegedly devised to be blind to them? To answer this question, this book investigates a fundamental axiom in computer science: pattern discrimination. By imposing identity on input data, in order to filter—that is, to discriminate—signals from noise, patterns become a highly political issue. Algorithmic identity politics reinstate old forms of social segregation, such as class, race, and gender, through defaults and paradigmatic assumptions about the homophilic nature of connection. Instead of providing a more “objective” basis of decision making, machine-learning algorithms deepen bias and further inscribe inequality into media. Yet pattern discrimination is an essential part of human—and nonhuman—cognition. Bringing together media thinkers and artists from the United States and Germany, this volume asks the urgent questions: How can we discriminate without being discriminatory? How can we filter information out of data without reinserting racist, sexist, and classist beliefs? How can we queer homophilic tendencies within digital cultures?
In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world's most valuable artworks are used as a fictional currency in a global futures market that has nothing to do with the work itself? Can we distinguish between creativity and the digital white noise that bombards our everyday lives? Exploring artefacts as diverse as video games, Wikileaks files, the proliferation of spam, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.
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