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The All-Women Hacker Collective Making Art About the Post-Snowden Age | Motherboard
““There is something about the internet that isn’t working anymore,” is the line that opens filmmaker Jonathan Minard’s short documentary on Deep Lab—a group of women hackers, artists, and theorists who gathered at Carnegie Mellon University in December to answer the question of what, exactly, that disquieting “something” is. The film premieres on Motherboard today.

What Deep Lab represents is just as hard to pin down as the “something” invoked in the opening minutes of Minard’s short film. Is it a book, a lecture series, or Minard’s documentary—all of which were put together in under a month? Is it an ethos? Is it feminist? Is Deep Lab a charrette, a dugnad, or a “congress,” as its participants called it?

It’s hard to say what Deep Lab is in part because of its scattershot nature, both in terms of its products and its focus. The Deep Lab book—available for free online—is a 242-page collection of essays, fragments, and reflections on everything from encryption to cyberfeminism penned by a dozen different authors with divergent interests.
Deep Lab’s interdisciplinary approach is perhaps necessary to parse the complicated realities of the post-Snowden age. Since Snowden’s revelations regarding the scope of the US government’s online surveillance program broke in 2013, it seems as though the internet has taken on a new, dark, and confusing identity.

Larger-than-life interests in the form of corporate and governmental surveillance are now at play in our daily interactions on the internet, and interpreting those outsized realities so we can understand them is no small challenge.

“As an artist, I want to reinterpret culture in a way that society can parse.” said Addie Wagenknecht, the multimedia artist who organized Deep Lab during her ongoing fellowship at the STUDIO for Creative Inquiry at Carnegie Mellon. “You take these big events and try to encapsulate them in a way that you can present them concisely and quickly so that it’s defined for people who experience that piece or exhibition.”

A chapter in the book compiled by data artist Ingrid Burrington is comprised of 20 pages listing objects pulled from the Pentagon’s 1033 program—which has supplied military hardware to local police for decades—in plain black text. After four solid pages of “5.56 MILLIMETRE RIFLE,” it becomes clear that Deep Lab is not only artistically compelling and tantalizingly oblique in how it approaches issues of life and death, but deadly serious.

According to Wagenknecht, Deep Lab is also a medium for women to do more than just participate in digital culture—the tech world has been notoriously resistant to opening its ranks to women—but to interpret and define it, and to share and create tools and techniques for survival within it.

“Maybe for women, we’re more aware of protecting ourselves online because it’s always been a social problem,” Wagenknecht told me. “Think of contacting friends before you leave a party late at night so people can make sure you got home safe—men maybe don’t think about that and women always do. And it’s those same roles on the web. How do you protect yourself from a hack or doxing? The power shifts to the person with more knowledge.”

Deep Lab member Harlo Holmes, who works as the head of metadata for the Guardian Project, designed a system for victims of cyber bullying on Twitter to easily and painlessly map the digital connections between harassers called Foxy Doxxing.

There were also men present at Deep Lab, including Minard, though they weren’t collaborators per se. Multimedia artist Golan Levin is the director of STUDIO, where Deep Lab congregated. Playing host to Deep Lab, Levin—along with Wagenknecht, who was the group’s chief mastermind and organizer—was part of Deep Lab’s development from the very beginning.

“I’m enormously proud,” Levin said. “You’re looking at a book, a documentary, and a lecture series that was put together by a dozen people in a month. I think they’re side-effects of what Deep Lab actually was.”

So, to return to the question that started this article—what is Deep Lab?—Levin provided his own answer: “It’s punk.”

But even more than punk—more than a book, a documentary, a gathering, or a lecture series—Deep Lab is a beginning, according to Allison Burtch, a resident at the Brooklyn-based Eyebeam Art and Technology Center and Deep Lab member.

I don’t think Deep Lab has ended; it was the beginning of a camaraderie,” Burtch said. “Yeah, we did this thing and did some talks, but it’s not ending. This is the beginning of different affiliations with people. It was awesome. “

According to Wagenknecht, a Deep Lab lecture series is planned for later in 2015, and will take place at venues in New York City. Until then, we have a book, several lectures, and a documentary to contemplate what Deep Lab is, and what it all means.​"
2015  deeplab  art  digitalart  infrastructure  2014  ingridburrington  jenlowe  technology  data  jonathanminard  jordanpearson  cyberfeminism  enryption  interdisciplinary  coding  code  programming  surveillance  golanlevin  harloholmes  allisonburtch  hackercollectives  collectives  culture  addiewagenknecht  punk  documentary  poer  subversion  deepweb  freedom  privacy  security  socialmedia  facebook  google  socialnorms  safety 
january 2015 by robertogreco
An Informal Catalogue of Slit-Scan Video Artworks and Research - Golan Levin and Collaborators
"Slitscan imaging techniques are used to create static images of time-based phenomena. In traditional film photography, slit scan images are created by exposing film as it slides past a slit-shaped aperture. In the digital realm, thin slices are extracted from a sequence of video frames, and concatenated into a new image.

Recently I've seen many new-media projects based on slit-scan techniques. They range from student projects, to Java demonstrations on the Processing.org site, to works by recognized pioneers of video and interactive art. My inclination to make lists is irresistible, and so I've put together this catalogue as an aid to researchers and students. My aim is to be as inclusive as possible, rather than attempt to winnow the projects down to just a few ideal exemplars or the most significant historic precursors. Thus not all of the examples are even computational: some of the projects described below use motion-picture film, still photography, or analog video techniques. Please note that this page is not self-promotional; I have not produced any slit-scan based projects myself.

Eddie Elliott, one of the earliest researchers of digital slit-scan imaging, keeps a related list which is more oriented towards photography, early cinema and flipbooks. There is now a Flickr tag for slitscan images, and many of the latest and informal productions can be seen there."
slitscanner  art  photography  processing  video  time  timemerge  timemergemedia  golanlevin  andrewdavidhazy  jacques-henrilartigue  georgesilk  williamlarson  douglastrumbull  r/greenbergassociates  r/ga  derekburnett  jean-micheljarre  pipilottirist  zbigrybczynski  billspinhoven  eddieelliott  toshioiwai  joachimsauter  dirklúsebrink  ansenseale  tamáswaliczky  annaszepesi  björnbarnekow  romyachituv  michaelnaimark  paulharter  christiankessler  martinreinhart  virgilwildrich  sidneyfels  kenjimase  ericlee  danielcrooks  bryanmumford  camilleutterback 
april 2013 by robertogreco
Golan_Levin_ETA_2012
"Hello, I’m Golan Levin. Today I’d like to talk about getting better results from your informatics researchdivision. You know: -- all those people that you employ in your R&D; department? The ones working on the development of new algorithms for computer vision, computational design, cultural informatics. And new artistic applications of these technologies. To judge from your some of your recentadvertising campaigns, you must’ve hired a bunch of PhD’s, huh?

YOU ARE TROLLINGPSFKWMMNACREATIVEAPPLICATIONSAND WE BOTH KNOW IT
NO YOU DIDN’T.

For those of you who saw Evan Roth’s talk at E.T.A. last year [2011] -- my talk today issimilar. And the reason for this, is that certain problems have not only persisted, but, inways, gotten worse.

NEW-MEDIA ARTISTSARE THE UNPAIDR&D; DEPARTMENTOF AD AGENCIES

… AND THIS IS NOT SUSTAINABLE

IN THE FUTUREYOUR AGENCIES WILL FAILUNLESS YOU FIND WAYSTO PARTNER WITHARTISTS…"
dishonesty  inequity  adagencies  partnerships  evanroth  culturalinformatics  informatics  r&d;  credit  thievery  ads  2012  golanlevin  attribution  newmediaart  newmedia  opensource  advertising 
october 2012 by robertogreco
Eyeo2012 - Zach Lieberman on Vimeo
"Unexpected — Live Performance, Technology and the Risk of Something (or Everything) Going Wrong. ie, Learning to Love Chance."

"A world without heartbreak is a world without heart."

Don't miss the poem at the end about failure (full text here: https://github.com/ofZach/eyeo_2012_remarks/ ]:

"What can go wrong? …

… this is a love letter to those who are on the frontlines, and if you are not on the frontlines, an invitation to join us. What I say to students is the world is hungry for ideas. We need you. …

and so I say: go. press play. compile. turn on the power, turn off the lights, turn on the lights, open the curtain, open the doors, start the show, invite people, post the video, send the link, push the code to git, hit save, hit run, run with it. go with it. go.

what is the worst that can happen?

a world without heartbreak is a world without heart. all we need to do is keep pushing, and we'll get there."

[See also: http://thesystemis.com/ ]
risktaking  thezone  inthezone  zones  via:jenlowe  hillmancurtis  andycameron  openframeworks  electronics  heartbreak  happiness  life  human  golanlevin  versionitis  risk  love  technology  design  art  failure  eyeo  eyeo2012  2012  zachlieberman 
august 2012 by robertogreco
Golan Levin makes art that looks back at you | Video on TED.com [see also: http://www.golanlevin.com/]
"Golan Levin, an artist and engineer, uses modern tools -- robotics, new software, cognitive research -- to make artworks that surprise and delight. Watch as sounds become shapes, bodies create paintings, and a curious eye looks back at the curious viewer."
technology  art  science  visualization  interactive  robots  installation  future  golanlevin  cognition  sound  tcsnmy  voice  text 
july 2009 by robertogreco

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