DP-1 playlist, version 1.1.0. 12 items: Lauren Lee McCarthy, Thierry Fournier, Joana Moll, Guido Segni, Alba G. Corral, Disnovation.org, Martin John Callanan, Antoine Schmitt, Alix Desaubliaux, Soliman Lopez, Irma Marco, Varvara & Mar.
Scan the code with a Feral File Toko, an FF1, the app or ff-cli to display this playlist, or copy the link and open it there.
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"text": "Lauren Lee McCarthy is an artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She is a 2021 United States Artist Fellow, 2020 Sundance New Frontier Story Lab Fellow, 2020 Eyebeam Rapid Response Fellow, 2019 Creative Capital Grantee, and has been a resident at Eyebeam, ZERO1, CMU STUDIO for Creative Inquiry, Autodesk, NYU ITP, and Ars Electronica. Her work SOMEONE was awarded the Ars Electronica Golden Nica and the Japan Media Arts Social Impact Award, and her work LAUREN was awarded the IDFA DocLab Award for Immersive Non-Fiction. Lauren's work has been exhibited internationally at places such as the Barbican Centre, Fotomuseum Winterthur, Haus der elektronischen Künste, SIGGRAPH, Onassis Cultural Center, IDFA DocLab, Seoul Museum of Art, and the Japan Media Arts Festival. She is the creator of p5.js, an open source programming language for learning creative expression through code online. She helps direct the Processing Foundation, a non-profit whose mission is to promote software literacy within the visual arts, and visual literacy within technology-related fields—and to make these fields accessible to diverse communities. Lauren is an Associate Professor at UCLA Design Media Arts."
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"description": "In “What do you want me to say?,” Lauren Lee McCarthy reflects on the ways femme-voiced virtual assistants are commanded and controlled by their users and their developers. In her own words:\n«Exhausted by Zoom calls, I created a digital clone of my voice to replace me. I feel a sense of power owning the data of my own voice. I am taking it back from the tech companies who are constantly collecting my conversations, sampling, analyzing, and archiving my speech for future use yet unknown. Instead, I offer the control of my voice to others. Upon visiting the work, you are asked by my voice, ‘What do you want me to say?’ However you reply, my voice responds by speaking your own words back to you. Then it asks again, ‘What do you want me to say?’»\nThe artwork examines vulnerability, ownership, and authenticity in a time of rapidly advancing virtual reality. For the first month of exhibition, this work is fully interactive and accessible to anyone. After this period, collectors have access to the interactive version for a full year. After one year, the piece converts into an archive playback version including the set of phrases her voice was instructed to say over the year.\nPLEASE NOTE: the artwork can only be experienced on Chrome and recent versions of Safari browsers."
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"description": "Joana Moll conceived “Ultimate Solvers” as a critical reflection on the promises of the technological sector, with companies confidently asserting that all problems can be fixed with large amounts of data and software. While global emergencies such as climate change and the COVID pandemic (not to mention other social, political, and economic crises) cannot be solved with an app, corporations still rely on techno-solutionism, which contributes to the obfuscation of these realities. Blindly relying on technology also prevents users from questioning what lies behind the solutions that these companies are offering, and from questioning how efficient they really are.\nThe artwork collects a series of slogans, brand identities, and stock images used by the major companies in the IT sector to sell their products. These are endlessly combined and repeated, showing to what extent these sentences are vague, empty of meaning, interchangeable, and generic. However, they also reveal the companies’ underlying ambition to control and shape the world through information analysis and predictive algorithms, which is a disturbing prospect for a society in which everything has become a resource to extract data and labor from.\n“Ultimate Solvers” was originally commissioned by HeK (Haus der elektronischen Künste Basel) as part of the Hek Net Works program."
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"description": "Inspired by the phenomenon of emergence that takes place in biological and chemical processes, Alba G. Corral uses creative coding to develop artworks in which an initial set of instructions generates a simulated ecosystem, or an endlessly evolving landscape. In these works, she considers the computer program as a co-author of each piece, given that it is driven to make its own “decisions” based on a series of pre-established parameters. In this sense, the output goes beyond the expectations of the artist and her original design, presenting unanticipated properties and behaviors.\nConceptually, the artwork is a reflection on the unforeseen outcomes of the systems that govern our lives. It underscores how systems can be designed with precise rules, coded into programs, and automatically executed by machines for specific purposes—while also operating within complex environments, and interacting with other systems, living beings, and natural processes. The piece also points to the fact that when things don’t go as planned, emergence can lead to emergency, or to crises such as those happening now in global financial markets, in the ongoing pandemic, and through the undeniable effects of climate change.\nPLEASE NOTE: In order to experience the artwork, click on the screen to generate worms. Press R to switch colors and reset the canvas. Right-click to save the canvas as an image. Best viewed on Chrome browser."
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"text": "DISNOVATION.ORG is a group working at the intersection of contemporary art, research, and hacking. They develop situations of disruption, speculation, and debate as a way to question dominant techno-positivist ideologies and to stimulate post-growth narratives. Their practice includes artworks, curation, research, and the creation of publications (including “The Pirate Book,” an anthology on media piracy edited by the group). In 2018, they received a Design Trust Grant (Hong Kong) for a research project about China’s Shanzhai culture. They are visiting researchers at the University of California, Irvine, and the group currently includes three members: Maria Roszkowska, Nicolas Maigret, and Baruch Gottlieb.\nDISNOVATION.ORG’s work has been presented internationally, including at Centre Pompidou (Paris), Transmediale (Berlin), the Museum of Art and Design (New York), Palais de Tokyo (Paris), FILE (Sao Paulo), ZKM (Karlsruhe), Strelka Institute (Moscow), ISEA (Hong Kong), Elektra (Montreal), China Museum of Digital Arts (Beijing), and the Chaos Computer Congress (Hamburg). Their work has been featured in Forbes, Vice, Wired, Motherboard, Libération, Die Zeit, Arte TV, Next Nature, Hyperallergic, Le Temps, Neural.it, Digicult, Gizmodo, Seattle Weekly, torrentfreak.com, and Filmmaker Magazine, among others.\nThey have received many awards, including: Research Fellowship at ArTeC - University Paris 8 (2021-24); Fellowship at UCL Louvain, BE (2021-22); Fellowship at the University of California, Irvine (2019); The WRO Biennale Awards (Critics and Art Editors), Wroclaw (2019); Design Trust Grant, Hong Kong (2018); Fellowship at V2_ Lab for the Unstable Media, Rotterdam (2018-2020); Fellowship at UCL Louvain (2018); First Prize for Digital Arts from Arte Laguna (2016), and Award for Artistic Technology Research, Vienna (2015)."
}
]
}
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"description": "“Predictive Art Bot” is an algorithm that automatically generates concepts for artworks by combining keywords from news and article headlines in real time. Conceived by DISNOVATION.ORG and programmed by Jérôme Saint-Clair, the artwork is a constantly updated commentary on the media’s influence on artistic trends and discourses, as well as on the widespread expectation of contemporary and new media art to address the social, political, economic, environmental, and cultural issues of our time. The artwork goes even further by suggesting future artworks that could be created from its one-liner descriptions, which are sometimes prophetic and sometimes plainly absurd. Each sentence is disseminated online on a dedicated Twitter account, and can be read as a critique of contemporary art, as some generative nonsense, or as the seed of an actual artistic project. Through algorithmic serendipity, the artwork opens up unlikely associations of ideas that could stimulate unconventional forms of creativity.\nSince its original inception in 2015, “Predictive Art Bot” has taken on many different forms, including an LED sign, an installation, a video projection, and a website. On Feral File, the artwork can be collected as an archive of all the predictions published on Twitter since September 2015. In this iteration, the sentences are displayed randomly, with an indication of the date and time they were published, plus a link to the original tweet."
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"title": "Each and Every Command",
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"name": "Martin John Callanan",
"links": [
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"text": "Martin John Callanan is an artist researching an individual's place within systems. He graduated with a BA (Hons) in Visual Communication (Photography) from Birmingham City University in 2003 and an MFA in Fine Art Media from the Slade School of Fine Art, London in 2005, where, between 2007-2019 he was Teaching Fellow in Fine Art Media and a member of Slade Centre for Electronic Media in Fine Art (SCEMFA).\nCallanan’s artwork has been exhibited and published internationally. He was awarded the prestigious triennial Philip Leverhulme Prize in Visual Art 2014-17 for his outstanding research, and was an artist in residence at the Bank of England around the same time. In September of 2015 he was awarded the title of Alumnus of the Year for Excellence in Arts by Birmingham City University.\nRecent solo exhibitions include shows at Noshowspace, Horrach Moya, Casal Solleric, Baltic 39, and Or Gallery, Berlin. His work has been shown at White Cube, Galerie Christian Ehrentraut, V2, Arts Santa Mònica, James Cohan Gallery, Es Baluard Modern and Contemporary Art Museum, Whitechapel Gallery, ZKM Karlsruhe, Ars Electronic Centre, ISEA, FutureEverything, Art Exchange, LIFT 2014, Battersea Arts Centre, Kunstverein Springhornhof, Riga Centre for New Media Culture, Whitstable Biennale, Imperial War Museum North, and published by Book Works."
}
]
}
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"description": "Over the course of 15 years, Martin John Callanan collected all the instructions he gave to the image editing software Adobe Photoshop: each and every action, edit, change, or mistake that the artist made to any and all images for himself or others, on any computer. “Each and Every Command” is the complete log of all the edits made between December 23, 2003, through March 13, 2019—presented in human-readable text on a single, 15,562 pages-long PDF file, as well as in a plain text document. The full list of instructions, which comprises 4,589,564 words, is the equivalent to more than eight times the Complete Works of William Shakespeare.\nIn a methodical and overwhelmingly detailed form, the artwork paints a precise illustration of the artist’s work, creating a painstakingly accurate, yet incomplete, account of his creative process. This impressive and somewhat absurd collection of data can be read as a critical comment on the widespread assumption that the quality of an artwork is to be measured in terms of labor, and also as an acknowledgement of the role that software plays in today’s artistic practice."
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"slug": "minos-vwa",
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"name": "Antoine Schmitt",
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"text": "Antoine Schmitt is an artist who creates objects, installations, and situations to address the processes of movement in all of their modalities. Inspired by kinetic art and cybernetic art, and nourished by metaphysical science-fiction, Schmitt endlessly interrogates the dynamic interactions between human nature and the nature of reality. Originally a programming engineer in human computer relations and artificial intelligence, he places the program at the core of most of his artworks as a way to reveal and literally manipulate the forces at stake.\nIn his work, Schmitt has collaborated with professionals from the fields of architecture, music, dance, cinema, and literature, including Franck Vigroux, Atau Tanaka, Vincent Epplay, Jean-Jacques Birgé, Delphine Doukhan, K.Danse, Patrice Belin, Don Nino, Cubenx, Alberto Sorbelli, Matthew Bourne, and Hortense Gauthier. As theoretician, speaker, and editor of the gratin.org portal, Antoine Schmitt explores the field of programmed art.\nSchmitt’s work has received several awards in international festivals such as transmediale (Berlin, second prize 2007, honorary 2001), Ars Electronica (Linz, second prize 2009), UNESCO International Festival of Video-Dance (Paris, first prize online 2002), Vida 5.0 (Madrid, honorary 2002), and CYNETart (Dresden, honorary 2004). His work has also been exhibited at the Centre Georges Pompidou (Paris), Sonar (Barcelona), and Ars Electronica (Linz), and in several Nuits Blanches (Paris, Amiens, Metz, Bruxelles, and Madrid)."
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"description": "Antoine Schmitt has rewritten a computer game he initially created in the 1970s, using the programming language Logo. “Minos” is an interactive game based on the well-known Greek myth in which the player, in the role of Theseus, has to escape an invisible maze before getting caught by a Minotaur. Both characters are represented by circles inside a minimalistic maze that is only made visible as they continue to explore the labyrinth. The artwork offers an engaging gameplay and can also be contemplated as a generative visual composition reminiscent of kinetic and op art, in line with the aesthetics of the artist’s other process-based works.\nConceptually, the game explores the unspoken rules and codes that we encounter in our daily lives, whether on the level of administrative regulations, social behavior, or software. From this perspective, the game’s objective (constant escape from an endless labyrinth inhabited by a threatening character) can have multiple meanings. As one example, in Minos, the walls of the labyrinth aren’t the only hidden component, as the rules of the game are also obscured at first. The player has to discover the rules by playing, and in that sense, it is a game with instructions that follow."
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"name": "Alix Desaubliaux",
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"text": "Alix Desaubliaux is an artist based in Rennes, France, who has been a part of the Vivarium workshop since January 2021. In parallel to her artistic practice, she carries out research with the collective with \"3G\" (Annie Abrahams, Pascale Barret, and Alice Lenay)—with whom she explores performative and experimental formats via online encounters—as well as with the research group WMAN, which brings together six artists and curators working in video games. She also teaches in several art schools (ENSAD Nancy, ESACM Clermont-Ferrand, ENSBA Lyon, ESAM Caen, ESBAN N”mes), where she organizes workshops, interventions, conferences, and seminars.\nDesaubliaux’s work has been presented in several exhibitions, events, and platforms such as Jeune Création fair in 2015 at the Thaddaeus Ropac gallery; Digital Arts Biennial at the Cité Internationale des Arts, Domaine Pommery; Ars Electronica Festival in Linz; Mécènes du Sud Montpellier-Sète; and Glassbox, among others."
}
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"description": "Alix Desaubliaux is interested in building narratives inside the virtual environments of Massive Multiplayer Online Role-Playing Games (MMORPGs), and in exploring the concept of the “Magic Circle” and its connection with both ancestral rituals, and the interaction between humans and their physical surroundings. Popularized by Johan Huizinga in his book “Homo Ludens\" (1938), the magic circle is a physical (or currently, virtual) space in which actions have a specific meaning because they are part of a game. Taken further, this idea leads to considering how every space in our society is subject to a set of explicit or implicit rules and codes, so that we are all, in a certain way, players behaving in accordance with the rules of a game.\nIn “Sigils,” the artist weaves the magic circle concept with the sigil, a symbol used in magic to summon a deity or spirit, and the physical space of an abandoned foundry of metallurgical alloys. The architectural plans of the factory inspire the artist to search for sigils that invoke an “industrial genie,” and she carries out a fictional ritual by burning the plans and creating rings of fire as a way to activate the sigil. The sound in the piece also creates an otherworldly effect that feels similar to the sounds generated by ghost hunters who use the feedback from electronic devices to search for the voices of spirits. In this way, the artwork suggests a paranormal experience through the lens of digital media by connecting the different types of code that have shaped human societies—from incantations, to laws, to programming scripts."
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"name": "Soliman Lopez",
"links": [
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"type": "website"
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"type": "twitter"
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"addresses": [
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"text": "Solimán López pursues his artistic production between his studio in Paris, France (UAS, Updated Art Studio) and ESAT LAB, an innovation department that he runs at ESAT, Escuela Superior de Arte y Tecnología de Valencia, Spain. In 2014, he founded the Harddiskmuseum, a museum that exists inside a portable hard drive.\nLópez’s work is focused on the meaning and nature of digital archives, with a strong interest in how human presence has impacted communication and digitalization in our current era. Technically, his works are achieved through the combination of 3D techniques, electronics, software programming, artificial intelligence, virtual and augmented reality, and digital synchronization.\nLópez’s career has developed through his participation in festivals, biennials, art centers, events, and museums all over the world, with highlights at Biennial of Digital Art (Sao Paulo), Biennial Nemo and Variations Art Fair (Paris), Chronus Art Center (Shanghai), ISEA 2019 (Montreal), ZKM Karlsruhe, Arts Santa Mònica (Barcelona), CCCC (Valencia), IVAM (Valencia), Etopia (Zaragoza), CAB Burgos, CAC Málaga, Es Baluard Museum (Palma), and the Nuit Blanche of Paris 2019."
}
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"description": "The hierarchical nature of social media has enabled influencers to become modern-day pagan deities, extending their power over the masses of believers who worship them. In “Neonumens,” Solimán López addresses this idea by exploring the Instagram feed of Brazilian beauty blogger Camila Coelho, who regularly shares makeup tutorials, archetypes of ideal beauty, and her luxurious lifestyle to her 9.2 million followers. The artist focuses on two images posted on the social media platform in particular—one featuring Coelho and two friends, and another depicting a baby shower with a dog sleeping on a couch next to a newborn and a large teddy bear. These images are recreated using 3D libraries and image recognition software, and then incorporated into a virtual installation. A video created by the artist explores the simulated piece, and is accompanied by sound generated from light values extracted from one of the images.\nThe wireframe structures of the 3D objects and the feature detection marks become neon lights and wire mesh sculptures in a composition that is reminiscent of both an altarpiece and a futuristic shop window display. Overall, the method for obtaining these elements and the resulting imagery remind us of the algorithmic nature of the contents we consume in social media. Coelho’s success and the particular type of images she disseminates result from unspoken rules, social codes, and the snowball effect of being favored by the sorting algorithms of the media platform."
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"title": "Are Smart Machines Alive?",
"source": "https://cdn.artworks.feralfile.io/previews/4f3fe912-d226-48b1-8120-56566426d110/1630004919/preview.mp4",
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"name": "Irma Marco",
"links": [
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"text": "Irma Marco is an artist, researcher, and teacher. She holds a master's degree in Fine Arts from the UPV, is currently pursuing her doctorate at the University of Barcelona, and is a resident at the Fàbrica de Creació Fabra i Coats (Barcelona). She is also a consulting lecturer at the UOC and teaches at institutions such as MACBA and Escola Massana.\nMarco works from pre-existing elements (such as sounds, images, discourses, or particular contexts), looking for new meanings and contents within materials that already have a past and a presence. She is interested in the plurality with which events are narrated and recorded, and she relies on noise, appropriation, collaboration, and exchange as strategies to open up a space of possibility from which to create meaning. Her practice encompasses sound experimentation, installation, actions, and interventions in physical spaces as well as virtual environments and publications.\nMarco has exhibited and intervened in the Centro de Desarrollo de las Artes Visuales (Havana), Museo de Arte Moderno de Santo Domingo, INJUVE, Matadero, CA2M, Fundación Telefónica, Galería Blanca Soto (Madrid), CCCC Centre del Carme, Espai Tactel (Valencia), Bòlit Centre d'Art Contemporani (Girona), MAC (Mataró), MACBA, Espai Souvenir, SWAB Art Fair, Tangent Projects, Influencers-CCCB, Festival Sónar, Cinema Zumzeig, Arts Santa Mónica, and Primavera Pro (Barcelona), among others."
}
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}
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"description": "Inspired by several texts on the interactions between humans and machines—such as Sherry Turkle’s “The Second Self” or Luciano Floridi’s “The Onlife Manifesto”—Irma Marco’s work asks a naïve but complex question: “Are Smart Machines Alive?” She initiates a dialogue between the virtual assistants Cortana (Microsoft) and Siri (Apple) by inserting questions raised by these texts, and by playing with the misunderstandings and failed translations that occur as the programs aim to process and reply to the data they receive.\nMarco stages this exchange using a deliberately cheap and low-fi aesthetic that is reminiscent of late night TV fortune tellers, and which playfully contradicts the sleek design of the devices and the promised flawless performance of the software. As the piece runs, the dialogue progressively turns into a cacophony as the synthetic voices deliver increasingly incoherent sentences, incorrectly interpreted by a speech-to-text software. Text fills the screen and then turns into an indecipherable string of letters and symbols, which is actually IZZZJ, a coded language invented by the artist. Marco carries out this experiment in order to underscore the flaws and limitations of a technology that has made us question what it is to be human."
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"text": "Varvara & Mar is an artist duo formed by Varvara Guljajeva and Mar Canet in 2009. Varvara (born in Tartu, Estonia), has a PhD in art from the Estonian Academy of Arts, a master’s degree in digital media from ISNM in Germany, and a bachelor’s degree in IT from Estonian IT College. She is also an Assistant Professor in Computational Media and Arts at HKUST(GZ). Mar (born in Barcelona) has two degrees, one in art and design from ESDI in Barcelona, and one in computer game development from University Central Lancashire in UK. He also has a master’s degree from Interface Cultures at the University of Art and Design in Linz. Currently, he is a PhD candidate in BFM at Tallinn university and a research fellow at Cudan Open Lab.\nIn their practice, the artists confront the social changes brought on by the development of digital technologies. The main topics in their work are artificial intelligence, kinetics, participation, and digital fabrication. Varvara & Mar have exhibited their work at MAD in New York, FACT in Liverpool, Santa Monica in Barcelona, Barbican and V&A Museum in London, Onassis Cultural Centre in Athens, Ars Electronica museum in Linz, and ZKM in Karlsruhe, among others. They have also completed various commissions, such as Neuronal Landscapes (2018) for the Estonian History Museum, and Wishing Wall (2014) for Google, which was presented in the exhibition Digital Revolution at the Barbican."
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"description": "“Signal of the World” is a poem by Varvara & Mar that playfully addresses our daily dependency on internet connectivity, and the ensuing collection of data. The poem is performed by Varvara in the role of a character that represents a Wi-Fi signal, portrayed as a golden idol that is reminiscent of both the statuette appearing in Steven Spielberg’s “Raiders of the Lost Ark” (1981), and the robot Maria from Fritz Lang’s “Metropolis” (1927). The character’s cartoonish features infuse the rendition with a farcical mood, although the content of the poem increasingly becomes upsetting as the idol spouts commands and veers from seductive to authoritarian.\nThe artists also developed a Snapchat filter for this artwork, as part of a series of videos that take a satirical view on the art market and the cryptocurrency boom, among other subjects. They consciously combine references from popular culture and social media to create content that follows the rules of the attention economy, all while inserting critical commentary with a dose of humor."
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"title": "Instructions Follow",
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"summary": "Over the last year, our daily environment has taken the shape of a video game tutorial: everywhere, lines of security tape delimit the spaces we can go to, or where we can sit. Arrows show the directions to follow in corridors and entrances, and protocols are put in place to establish what we must do in public spaces. At the same time, disembodied synthetic female voices emanate from home speakers and smartphones, providing us with information and instructions. Smart objects remind us to walk more, sit up straight, drink water, meditate, or learn a new language.",
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