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Dear List:
Since August of 2015, I have been chronicling the TRUMP phenomenon, which I
refer to as XTreme TRUMPology. Here are 50 posts I have written to date:
http://www.randallpacker.com/category/xtreme-trumpology/
I see the developing fake news issue as the catalyst of a much greater problem:
the intentional distortion of reality for the purpose of gaining political
control. Fake news is a means to an end, what happens when morally bankrupt
demagogues are in pursuit of absolute power.
To this end, it beholds us to construct critical “weapons” that we can use to
deconstruct and defuse this diabolical fakery, and it is my hope, that during
this next week, the empyre list can serve as both a virtual roundtable for
discussion, as well as a space for developing tactical methods we can employ as
media artists, theorists, and educators in our everyday lives and work. Some of
these methods have already been identified in past weeks… I hope to see more!
These are dangerous times and I am interested in the kinds of critical tools we
can develop collectively to combat the torrent of fakery and disinformation
that is consuming our government, our country, and the world.
It’s time for action.
Best, Randall
On 6/27/17, 8:48 AM, "Randall Packer" <rpac...@zakros.com> wrote:
Greetings all… I am gathering my reportage on this critical issue, one that
threatens to engulf our collective grip on reality. Here in Washington, DC, the
tension is palpable as we see democracy hanging by a thread in the face of the
steady, hypnotic torrent of disinformation emanating from all corners of the
government. I don’t take this responsibility lightly as an empyre reporter, and
will be posting my first dispatch later in the day.
Best,
Randall :::: from the underground studio bunker in Washington, DC
On 6/26/17, 5:17 AM, "Renate Terese Ferro"
<empyre-boun...@lists.artdesign.unsw.edu.au on behalf of rfe...@cornell.edu>
wrote:
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Thanks to Kevin, Byron, Murat and Aviva for participating this week as
we reflected on the notion of the fake in regards to science and art. I
realized about midway through the week that the questions that arose were
important and thoughtful ones that actually would make an excellent month long
topic in the near future on -empyre-. Kevin reminded us of the trend where
truth-claims of scientists have been undermined for political causes. It also
reminded me of the fraud that big science and the pharmaceutical industry have
been accused of where research studies have been manipulated for economic gain.
Artists can provide the critical space using the tools and methodology of
science to create critical spaces where the public can pause, reflect, and
activate a sense of resistance.
Welcome to Randall Packer, Ana Valdes, Ana Munster and Lindsay Kelley.
Ana Munster and Lindsay were our guests during week one and we welcome them
back as we close down our topic. Ana Vales has been a long time participant of
-empyre- and we welcome her back this week. Randall Packer participated in a
panel with me at ISEA in Singapore last year. We warmly welcome all of them
to further discuss Fake News within a global context. Bios are below.
Lindsay Kelley (AU) Working in the kitchen, Lindsay Kelley's art
practice and scholarship explore how the experience of eating changes
when
technologies are being eaten. Her first book is Bioart Kitchen: Art,
Feminism and Technoscience (London: IB Tauris, 2016). Bioart
Kitchen emerges from her work at the University of California Santa
Cruz (Ph.D in the History of Consciousness and MFA in Digital Art and
New
Media). Kelley is a Co-Investigator with the KIAS
funded Research-Creation and Social Justice CoLABoratory: Arts and the
Anthropocene (University of Alberta, Canada).
Anna Munster (US) Anna Munster has been at UNSW Art and Design since
2001 on a full-time tenured
basis. She is an active researcher with two sole published books: An
Aesthesia of Networks (MIT Press, 2013), and Materializing
New Media (Dartmouth College Press 2006). Her current research
interests are: networked experience, media arts and theory, data and
radical
empiricism, nonhuman and perception, new pragmatist approaches to media
andArt.
Anna regularly collaborates artistically with Michele Barker in
the School of Media Arts, COFA. Barker and Munster are working on a
large-scale
multi-channel interactive work, HocusPocus, which explores the relations
between perception, magic and the brain. They have been awarded a New
Work
Grant, 2010, from the Australia Council for the Arts to realise this
work.
Recent collaborative projects include: Duchenne’s smile (2-channel DV
installation, 2009), The Love Machine II (photomedia installation,
2008–1¬0),
Struck (3-channel DV installation, 2007).
She is a partner in a large international project, Immediations
<http://senselab.ca/wp2/immediations/>, hosted
by Concordia University, Montreal and funded by the Social Science and
Humanities Research Council, Canada. She has held two ARC Discovery
research
grants in new media and art: 'The Body-Machine Interface in New Media
Art from
1984 to the Present, 2003–5' and 'Dynamic Media: Innovative social and
artistic
uses of dynamic media in Australia, Britain, Canada and Scandinavia
since
1990'. She is also an investigator on an ARC Linkage project,
'Australian Media Arts Database', which will utilise innovative
user-lead and
open source databases to create a history of Australian media arts in an
international context.
She is a founding member of the online peer-reviewed
journal The Fibreculture Journal <http://fibreculturejournal.org/> and
has co-edited two special issues on Distributed
Aesthetics <http://seven.fibreculturejournal.org/>and Web 2.0
<http://fourteen.fibreculturejournal.org/>. and on the editorial advisory
board of LeonardoBooks (MIT Press), Inflexions, CTheory,
Convergence, and Scan
Randall Packer (US) Since the 1980s, multimedia artist, composer,
writer and educator Randall
Packer has worked at the intersection of interactive media, live
performance,
and networked art. He has received critical acclaim for his socially and
politically infused critique of media culture, and has performed and
exhibited
at museums, theaters, and festivals internationally, including: NTT
InterCommunication Center (Tokyo), ZKM Center for Art & Media
(Karlsruhe),
Walker Art Center, (Minneapolis), Corcoran Gallery of Art (Washington,
DC), The
Kitchen (New York City), ZERO1 Biennial (San Jose), Transmediale
Festival of
Media (Berlin), and Theater Artaud (San Francisco). Packer is a writer
and
scholar in new media, most notably the co-editor of Multimedia: From
Wagner to
Virtual Reality and the author of his long running blog: Reportage from
the
Aesthetic Edge. He has written extensively for publications including:
MIT
Press, Johns Hopkins University Press, the Leonardo Journal for the
Arts &
Sciences, LINK, ART LIES, Hyperallergic, and Cambridge University
Press. He
holds an MFA and PhD in music composition and has taught multimedia at
the
University of California Berkeley, Maryland Institute College of Art,
American
University, California Institute of the Arts, Johns Hopkins University,
The
Museum of Modern Art, and most recently at Nanyang Technological
University
(NTU) in Singapore. At NTU, he is an Associate Professor of Networked
Art where
he founded and directs the Open Source Studio (OSS) project, an
educational
initiative exploring collaborative online research and teaching in the
media
arts. At NTU, he organized the Art of the Networked Practice | Online
Symposium, a global event which featured participants from more than 40
countries around the world. Currently he is organizing the Third Space
Network
(3SN), an Internet broadcast channel for live media arts and creative
dialogue.
Ana Valdes (UR) Ana Valdes writer
Art curator and social anthropologist born in Uruguay and political
prisoner
during several years. Lived in Sweden and became engaged in the
Palestinian
struggle for an own state. Now she is working with a former inmate of
Guantanamo writing a book and making a film.
Renate Ferro
Visiting Associate Professor
Director of Undergraduate Studies
Department of Art
Tjaden Hall 306
rfe...@cornell.edu
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