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1. Machine Subjectivity, Politics and Digital Arts

   Although human interaction with technological artifacts often involves treating them as if they are alive, the dominant discourse in our society portrays technology as the instrument of its human master. In the context of computing, our desire of absolute control over machines manifests itself both as the human computer interaction (HCI) community’s emphasis on “usability” and as popular culture’s apocalyptic imagination of the out-of-control artificial intelligence (AI) systems trying to eliminate humanity. It is revealing that, for instance, the word “robot” comes from “slave” in Czech. This paper examines the social and aesthetic limitations of this narrow instrumental view of technology. It proposes an alternative interaction model based on machine subjectivity, that is, constructing and perceiving computer systems as an independent entity in its own right.

   Audun Andreassen - 10.04.2013 - 13:42

2. Polly Returns

   Digital contemporary retake of Shelley Lake's eerie video 'Polly gone' (1988). 'Polly Gone' was a critique of the gendered role of the housewife. Although the music is 1980s techno, the eeriness and themes somewhat recalls Chantal Akerman's video 'Saute ma ville' (1968). In 'Polly Returns', the robot has taken a more humane physiognomy, and the relation to the screen has changed. Polly has become an integral part of the screen, and her gendered role has acquired complexity that goes beyond domestic chores. Rolling text instructs her in a very neoliberal way how to be simultaneously a perfect housewife, a politically conscious citizen, a productive worker and a caring mum, among others.

   Artist's statement:

   Maud Ceuterick - 10.07.2020 - 11:06