Point of Production

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These is red-bottoms, these is bloody shoes

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Technocrat’s Magazine (1933)

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[zazzletheory]

Fuck STEM / Make Art

Perfect for the arts major in your life, in many styles, colors, and sizes.

Click here to browse.

[gerrycanavan]

if you want a vision of the future

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We’re Building a World-Size Robot, and We Don’t Even Realize It

We’ve created an internet that senses, thinks, and acts. How can we protect ourselves if it goes wrong?

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Perry Anderson: Modernity and Revolution. New Left Review I/144, March-April 1984.

[dailymarx]

The illusory community, in which individuals have up till now combined, always took on an independent existence in relation to them, and was at the same time, since it was the combination of one class over against another, not only a completely illusory community, but a new fetter as well.

Marx - German Ideology 1845 (via dailymarx)

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The Humans Working Behind the AI Curtain

The dirty little secret of automation is that people make it possible.

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Zootopia is a recent Disney feature released to almost universal critical acclaim and box office success.

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The Cybernetic Humanities - Los Angeles Review of Books

Leif Weatherby reviews three recent books on the history of cybernetics.

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The cypherpunk revolution

Thomas Rid, cybersecurity expert and author of "Rise of the Machines," chronicles the early history of cypherpunks and how they helped turn public-key cryptography into one of the most potent political ideas of the 21st century.

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Chris Kelty

Participation is a concept and practice that governs many aspects of new media and new publics. There are a wide range of attempts to create more of it and a surprising lack of theorization. In this paper I attempt to present a “grammar” of participation by looking at three cases where participation has been central in the contemporary moment of new, social media and the Internet as well as in the past, stretching back to the 1930s: citizen participation in public administration, workplace participation, and participatory international development. Across these three cases I demonstrate that the grammar of participation shifts from a language of normative enthusiasm to one of critiques of co-optation and bureaucratization and back again. I suggest that this perpetually aspirational logic results in the problem of “too much democracy in all the wrong places.”

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(NOTE: FULLY OPEN ACCESS – Download using the attached link) In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial artmarket have so far been rather

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