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Over the past few years, my site-specific installations have been themed around surveillance. There is no issue more relevant to the future of positive creativity than preserving the independent voice. Thus, I use code, live video and installation to illustrate the disconcerting nature of unsecured data in works such as Data Log and PentAutomaton. I siphon unprotected webcam feeds found by browsing the internet into projection-mapped light sculptures, which also reflect live webcam feeds of their audiences, juxtaposing the playful nature of selfie culture with the unease inherent to viewing people who are not aware they are a part of the installation. I ask the viewer to ask themselves, how much of yourself are you willing to give to the cloud?
Continuing the States of Anxiety series, Jana Astanov interviews Julia Sinelnikova.
Not long ago I dreamed of a shopping mall. It was not a mall I had ever visited before, or even a mall I had heard mentioned in casual conversation while standing in line at the grocery store or post office. It was a secret mall, hidden from sight within the labyrinthine expanse of the old Westinghouse Electric building near where I live in the Churchill Valley. Still the mall was familiar in the way common places register in your mind: hotels, schools, hospitals, and banks. Its bland architecture was reassuring, so much so that it was almost invisible.
By Matthew Newton.
I think psychedelic states can offer genuine knowledge. Specifically, I think psychedelic subjects gain what philosophers call ‘knowledge by acquaintance’ of their own vast psychological potential. They become directly acquainted—because it becomes manifest—with the modal or dispositional fact that there are vastly many, often very unusual, possible ways that their minds can be. And this knowledge often makes a strong impression; many spiritual seekers in the 60s became dedicated meditation practitioners in order to realise the psychological potential they’d discovered by tripping.
Lindsay Jordan kicks off 3:AM’s Psychedelics and Philosophy series interviewing Chris Letheby.
I do not think you would be required to sacrifice your own life to save the child or indeed to sustain permanent major physical damage to your body which would leave you severely mentally or physically incapacitated for life. It would probably be morally admirable to do so, but this is not something that can be demanded from people. Requirements to sacrifice yourself in this except under truly exceptional circumstances undermine your authority over your own body.
Continuing the End Times series, Richard Marshall interviews Fiona Woollard.
e Vagaries, vaguely Constructed. How can One address an Unknown Number and Gender?
f Extraneous sto. To Speak White means…? Who are We?
g Poor Pun Attempt
h Clear Tower of Babel Ref. Or Mobility? Upward? Non-native Speaker? with Axe? to Grind?
i There is no excuse for religious intolerance.
j Dimos/Demos. But whose?
k Simultaneously Sentimental and Racist Bullshit.
New poetry by Autumn Hayes.
No itching No hunger No thrum
Savage lunge
No blisters No sunburn No gloom
Savage lunge
No shiver No candle No flame
Savage lunge
It’s the weapon
moves the hand
New poetry by Jon Stone.
When he is finished I try to feed the girl, but she hisses and spits and snaps her pincers at my outstretched fingers. I jump and cradle my hand and glance at the man, and think about how in a few months he might look at me proudly, as I lower his children into a steaming bath.
New fiction by Amaryllis Gacioppo
‘Believe only what is true!’ is a useless epistemic norm. It’s correct, but it cannot guide us, because what we need are criteria we can actually apply; truth, however, isn’t a criterion we can directly test. ‘Believe only what is consistent with your entire belief system!’ is similarly useless. By Church’s theorem we cannot test a given set of axioms for its consistency. In general, this is beyond the computational powers of the best ideal computer.
Continuing the
But it only lasts so long. Like a rollercoaster titled “Be her!” The safety bar lifts, you get out, and the contrast is dizzying. Standing on your own feet is disappointing.
New fiction by Andrew Gretes.
His Endless House was a shock proof shelter, like the rock-shaped formations of his Magic Architecture, rooted in primal regression but rather than being a hypersexualised elastic expression like Paris Endless the new version was rather ‘a palpable luxury of warm soft glowing atmospheres of multimedia affections.’ Kiesler exploded space creating endlessness through illusions that ‘sweep past the boundaries’ dwelling in a solid protective shell.
Richard Marshall reviews Stephen J Phillips on Frederick Kiesler.