Call for Cognitive infrastructures – Synthetic Intelligence Studio 2024
Call for Cognitive infrastructures – Synthetic Intelligence Studio 2024

Cognitive Infrastructures is the theme for Antikythera’s 2024 Synthetic Intelligence Studio in London, running June 21–July 19. Antikythera is a philosophy of technology think tank reorienting planetary computation. Applications are open for interdisciplinary researchers to join the one-month design-development studio working across philosophy, speculation, and code to explore unexpected interfaces between social and machine intelligence. Join the London in-person info-session on Wednesday February 7 at 5:30pm, or the virtual info-session on Tuesday February 13 at 5:30pm London time.

What are cognitive infrastructures
As artificial intelligence becomes infrastructural, and as societal infrastructures become more cognitive, the relation between AI theory and practice needs realignment. Across scales and back again, from world-datafication and data visualization, to users and UI, many of the most interesting problems in AI design are still embryonic.

Natural Intelligence emerges at environmental scale and in the interactions of multiple agents. It is located not only in brains but in active landscapes. Similarly, artificial intelligence is not contained within single artificial minds but extends throughout the networks of planetary computation: it is baked into industrial processes; it generates images and text; it coordinates circulation in cities; it senses, models and acts in the wild.

This represents an infrastructuralization of AI, but also a “making cognitive” of both new and legacy infrastructures. These AIs are capable of responding to us, to the world and to each other, in ways we recognize as embedded and networked cognition.

AI is increasingly physicalized, from user interfaces on the surface of handheld devices to deep below the built environment. As we interact with the world, we retrain model weights, making actions newly reflexive, knowing that performing an action is also a way of representing it within a model. To play with the model is to remake the model, increasingly in real time.

How might this transform human-AI interaction design? What happens when the production and curation of data is for models that are increasingly generalized, multimodal, and foundational? How might the collective intelligence of generative AI make the world not only queryable, but re-composable in new ways? How will simulations collapse the distances between the virtual and the real? How will human societies align toward the insights and affordances of AI, rather than AI bending to human constructs? Ultimately, how will the inclusion of a fuller range of planetary information, beyond traces of individual human users, expand what counts as intelligence?

Antikythera’s Cognitive Infrastructures studio will unfold from several interrelated speculative briefs for intellectual and practical exploration, including:

–Civilizational overhang and productive disalignment
–HAIID: human-AI interaction design
–Toy world policies
–Embeddings visualization
–Generative AI and massively-distributed prompting
–Multimodal LLM interfaces
–Data provenance and providence: the good, the poisoned, and the collapsed
–The planetary across human and inhuman languages

Apply by March 1
The studio will select 12–18 interdisciplinary, full time funded studio researchers (engineers, designers, scientists, philosophers, writers and technologists, amongst others) to develop speculative prototypes and propositions in response to briefs investigating the socialization of machine intelligences at planetary scale. The studio will be held full time, in-person at Central Saint Martins—University of the Arts London, with special events including lectures, gatherings, and salons unfolding at sites across London.

Selected studio researchers will work with a network of affiliate researchers, including collaborators from Google Research/ Deepmind, Cambridge Centre for the Future of Intelligence, Cambridge Centre for Existential Risk, and many others. Special seminars, lectures and workshops will be hosted by Director of Antikythera Benjamin Bratton, Google Research/ Deep Mind VP Technology and Society Blaise Aguera Y Arcas, Cambridge Centre for Existential Risk Historian Thomas Moynihan, Science-fiction author Chen Qiufan, Astrophysicist and co-developer of Assembly Theory Sara Walker, and others.

UCLA Architecture and Urban Design – W/S 2024 public program
UCLA Architecture and Urban Design – W/S 2024 public program

UCLA Architecture and Urban Design (UCLA AUD) is pleased to share its program of winter and spring lectures and events, all free and open to the public. UCLA AUD’s public lecture series is a proud tradition at the Department, with public dialogue as a cornerstone of AUD’s mission. The winter and spring program features another AUD tradition: the annual Rumble year-end exhibition, on view Monday, June 10 and Tuesday, June 11, 2024.

This winter, UCLA AUD is also happy to welcome a range of exciting guest instructors, leading studios and seminars across the Department: Hallie Black, Gary Riichirō Fox, Fredrik Hellberg and Lara Lesmes (aka Space Popular), Christopher Rancourt, and Oana Stănescu, who will hold the Department’s Lee Chair. 

Bookmark AUD’s events page for updates, and browse AUD’s news page for updates and stories about student and faculty projects, news, and insights. Also, check out GO ARTS UCLA for a look at events and programs across UCLA Arts/UCLA’s School of the Arts and Architecture.

All events listed below are held at AUD’s Perloff Hall on UCLA’s Main Campus in Westwood and begin at 5:30pm, unless noted otherwise.

Florian Idenburg: “In Depth: past and current SO–IL projects”
Wednesday, January 10
Founding Partner, SO – IL, and Professor of Practice, Cornell University

Julie Eizenberg (MArch ‘81)
Monday, January 29
Founding Principal, Koning Eizenberg Architecture

Oana Stănescu: “Cover Me Softly”
Thursday, February 8
Architect, Designer, and Lee Chair and Lecturer, UCLA AUD

Jeannette Kuo: “ABOUT TIME”
Wednesday, February 21
Principal, KARAMUK KUO, and Professor of Architecture and Construction, TU Munich

Kelly Bair (MArch ‘05) and Kristy Balliet (MArch ‘04): “Core Work”
Thursday, February 29
Founding Partners, BairBalliet

Michael Maltzan
Monday, March 4
Principal, Michael Maltzan Architecture, Inc.

Dana Cuff presents the 135th UCLA Faculty Research Lecture
Thursday, March 7
*UCLA’s Schoenberg Hall, 3pm

Ideas After IDEAS: An Alumni Conversation
Thursday, April 19
*Time TBD

Tatiana Bilbao presents the annual UCLA cityLAB Lecture
Monday, April 22
Founder, Tatiana Bilbao ESTUDIO

IDEAS Talent Fair
Friday, May 17
*Time TBD

Marion Weiss
Monday, May 20
Co-founder, WEISS/MANFREDI Architecture/Landscape/Urbanism, and Graham Professor of Practice in Architecture, University of Pennsylvania’s Weitzman School of Design

Rumble 2024
Monday, June 10 and Tuesday, June 11

Encounters with Architecture
Encounters with Architecture

If architecture is to matter in the world, then we need clear information and many more outlets to learn about architecture and design. We need life-shaping experiences and conversations to reach young people.

In partnership with the Chicago Architecture Biennial, join this virtual symposium sharing recently completed and still emerging education projects with the power to change architecture field. This free, three-hour program includes projects and perspectives contributed by architects, artists, educators, and writers imagining and making new forms of design education.

Sessions: Maya Bird-Murphy, Mobile Makers and the Chicago Architecture Biennial Youth Council / Frédéric Chartier, School Building as Pedagogy / Amanda Williams, Redefining Redlining / Sanjive Vaidya, The Case for a Public Design Education

Encounters with Architecture is part of the Association of Architecture Organizations’ broader efforts to connect, support, and advocate for organizations and individuals around the world devoted to advancing the role of architecture, planning, and design in service to society.

Who should attend? Design educators (MS, HS, College) / school teachers / school administrators / out-of-school time educators and program facilitators / curators / architecture organization staff / grantmakers and program officers / design professionals / program volunteers / individuals curious about the subject

What will you learn? The case studies explored in this session range from student build projects to civic conversations to issues of pipeline development and diversity within architecture and allied fields. This content is geared to those seeking program inspiration, as well as an overriding interest in the strategy, argumentation, and learning to be found in new forms of practice.

Event sponsor: National Endowment for the Arts

Register at or directly via Zoom.

More session information:

Student Build at the Chicago Architecture Biennial
Presenter: Maya Bird-Murphy, Founder and Executive Director, Mobile Makers
Mobile Makers and the Chicago Architecture Biennial (CAB) Youth Council Mobile Makers is serving as the official Education Partner for the fifth edition of the Chicago Architecture Biennial, entitled This is a Rehearsal. In this work, they are facilitating the CAB Youth Council, a cohort of teens from all sides of Chicago who spent three months exploring public space together and collaboratively designing an installation for the Biennial. The result, “One Bench, One Love,” is a response to the lack of youth-specific third spaces and policing of teens across Chicago.

School Building as Pedagogy
Presenter: Frédéric Chartier, Partner and Co-Founder, ChartierDalix
The construction of a school is an opportunity to rethink the connections between education and nature, as evidenced by the School of Science and Biodiversity designed by ChartierDalix. With an ecosystem on the structure’s roof that extends into the walls, the omnipresence of vegetation increases quality of life, aids with learning, and helps the children to find their way around easily. The school is every inch an educational tool. 

Redefining Redlining
Presenter: Amanda Williams, Artist, aw | studio
Based on the 2022 living installation Redefining Redlining, Amanda Williams is piloting an educational curriculum that introduces high school students to the idea of making visible the detrimental impact of redlining while simultaneously inspiring ideas about who and what can reinfuse joy, beauty, and value into Black neighborhoods.

The Case for a Public Design Education
Presenter: Sanjive Vaidya, Chair, Department of Architectural Technology, City Tech, CUNY
Sanjive Vaidya believes that public design programs function as incubators for positive action on behalf of the displaced and underserved. He’ll share thoughts ranging from the cost and complexity of higher education, to sputtering municipal management, to employment for designers, and even a call to us all to improve our moral imagination for design’s place in our world.

Angirramut / Ruovttu Guvlui / Towards Home
Angirramut / Ruovttu Guvlui / Towards Home

The John H. Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto is proud to announce that Angirramut / Ruovttu Guvlui / Towards Home, an Indigenous-led exhibition organized by and first presented at the Canadian Centre for Architecture (CCA) in Montreal, will be on view in the Architecture and Design Gallery at 1 Spadina Crescent from October 25, 2023–March 22, 2024.

Angirramut / Ruovttu Guvlui / Towards Home was co-curated by Joar Nango (a Norway-based Sámi architect and artist), Taqralik Partridge (Associate Curator, Indigenous Art – Inuit Art Focus, Art Gallery of Ontario), Jocelyn Piirainen (Associate Curator, National Gallery of Canada) and Rafico Ruiz (Associate Director of Research at the CCA). The exhibition showcases installations by Indigenous designers and artists, reflecting on how Arctic Indigenous communities relate to land and create empowered, self-determined spaces of home and belonging.

Through the exhibition, as well as its accompanying publication and programming, Angirramut / Ruovttu Guvlui / Towards Home aims to have long-term impact, opening new forms of dialogues and ways of thinking about Northern Indigenous practices of designing and building that are not normally considered in the canons of architecture.

“Towards Home recognizes that architectural design in this country has been generally insensitive to Indigenous peoples’ traditions and cultures,” says Jeannie Kim, Associate Professor at the Daniels Faculty and organizer of the Toronto exhibition. “Participating in this project, our Faculty hopes to broaden understandings, and to support our shared efforts towards fostering practices of land-based design.”

Work on view will include Taqralik Partridge and Tiffany Shaw’s The Porch, a transitional space unique to Northern living that welcomes Indigenous visitors into an institutional setting that has historically excluded them. Geronimo Inutiq’s I’m Calling Home presents a commissioned radio broadcast that recalls the central role that radio plays in both connecting Inuit communities and expediting colonialism. Nuna, an installation by asinnajaq (in conversation with Tiffany Shaw), is a tent-like structure that invites both sharing and reflection while evoking the four elements. Offernat (Votive Night) by Carola Grahn and Ingemar Israelsson is an altar featuring a birch burl that evokes the burning of Sámi drums during Christianization in the 1700s.
The exhibition also facilitated the Futurecasting: Indigenous-led Architecture and Design in the Arctic workshop (co-curated Ella den Elzen and Nicole Luke) that brought together nine emerging architectural designers and duojars(craftpeope) to convene across Sapmi and Turtle Island to discuss what the future of design on Indigenous lands might become.

The full list of contributors includes: asinnajaq, Carola Grahn and Ingemar Israelsson, Geronimo Inutiq, Joar Nango, Taqralik Partridge, and Laakkuluk Williamson Bathory. The original exhibition design was by Tiffany Shaw with graphic design by FEED. Additional updates on the Daniels Faculty exhibition and related programming will be announced soon.

Broadcasting alienation: interview with Laura Yuile
Broadcasting alienation: interview with Laura Yuile

ASSET ARREST is a podcast series set around the viewing of different luxury properties led by artist Laura Yuile, who poses as a potential buyer. Yuile is a multidisciplinary, performative artist living and working in London. In her work, she explores notions of the domestic and the urban through the intimate (or public) matters of living together, and the effects of globalization and technological development upon living space itself.

For each episode, a conversation before and after the viewing is recorded, with guests talking about their own work and interests; as well as covering more general topics such as urban regeneration, housing crises, globalization, authenticity, exclusion, and community.

The podcast represents a fascinating exploration of what it means to live and dwell in the neoliberal city, where life as the public space get more and more fragmented and enclosed in favor of private speculation and social segregation. Through her research, Yuile establishes connections between a number of urban areas, highlighting the dissemination of repetitive formulas and templates that define new ways of managing life in the metropolis – or as written by Keller Easterling «an infrastructural technology with elaborate routines and schedules for organizing consumption.»(1)

By means of a useless estate agency — as the artist herself defines Asset Arrest — she manages to infiltrate and create an opening within an extremely exclusive system, that of financialised housing, dismantling and revealing the discrepancies of its persuasive narrative of development, progress and well-being.

Fabiola Fiocco: Hello Laura, thank you for this interview. Let’s start from the basis, when and how did you start ASSET ARREST?

Laura Yuile: It started five years ago in 2015, not as a podcast, but for this festival in London called the Anti-University festival and it was conceived as a series of events in which individuals or small groups — any members of the public — could sign up and come with me to view a property. It was a way for me to make it less stressful and intimidating the process of accessing these spaces when you are not really considering buying them. It was a way to make some of these spaces accessible to the public.

Since I don’t obviously publish any video or filming from the viewing, because you are not really allowed to and I don’t feel comfortable putting the estate agent in that position without them knowing, the podcast seemed an appropriate way to make something of these spaces public. I have occasionally recorded the audio of the actual viewing but I prefer to just remember what has been said, write it down and reflect on it or refer to it in conversation. It tends not to be particularly interesting as they are following a fairly standard script. Like myself in this situation, the estate agents just have a role to perform and the more viewings I do, the more I can guess what they will say.

Fabiola Fiocco: While you’re there on the viewing, what is your role? Do you approach it critically, asking unusual or uncomfortable questions, or do you try to blend in?

Laura Yuile: I started doing this almost as a hobby and at first I was really nervous, like — Oh my god, what am I supposed to say? What are the questions I’m meant to ask? How am I meant to look? Will they know I’m lying? Now that I’m quite comfortable in these situations, it becomes very much about me playing a pre-determined role, and in the same way the agent is playing a role. For them it is a job, for me is it an art project. It’s very performative. So I usually have a character in mind, and I try to embody that character. I try to fit in whilst also asking quite jarring or uncomfortable questions. A lot of it is a reaction to how the estate agent is performing, as well as the guest I have with me. It’s not so much that I’m lying, as usually they don’t ask anything about my life.

The main lie is simply me saying I’m looking to buy an apartment or a house. And as the person I’m with is not always someone I know or have met before, we’re also performing by pretending to be a couple, to be friends, or related to each other. So again that is another aspect of the performance, the interaction, the body language. Some people are very quiet and maybe kind of awkward in that situation, because they’re not used to performing roles in this way, but some people do it quite naturally. If I go with another artist, they’re usually quite good because it may be part of their own work doing performances, interventions, or similarly stranger things. In a way, I think artists are usually quite good at lying (laughs).

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Fabiola Fiocco: You just said artists are better at performing a part but in the various episodes, you always have many different people, with very interesting and diverse backgrounds. How important is it for you to bring different expertises and to include people that are not into the arts? What is the selection process structured?

Laura Yuile: It’s a mix. In London it works quite differently because here I know many people and someone might express interest in coming with me on a viewing. I always like to try and do that because —even if it’s not made  into a podcast — I want to stay committed to the idea of this being a way of me helping people access these spaces, for whatever reason interests them. I almost become a kind of estate agent agent. When I was doing it in Berlin on a residency, i didn’t know as many people and didn’t have such a large network there. Therefore, it becomes about identifying people who would be interesting to talk to and getting in touch to ask them to join me.

So far, my guests have mostly been people that work on similar issues of urban space, architecture or art and they bring a perspective and a knowledge that is slightly different to my own. But I’m also keen to broaden this scope and perhaps do a viewing with someone who is actually looking to buy one of these apartments as well as people who have different roles and experiences within the communities where the properties are being sold or developed. I’m open to suggestions and offers!

Fabiola Fiocco: What about the property selection, what is the process behind the creation of a episode?

Laura Yuile: Usually, I invite a guest first and ask them if there is a particular property or area of the city they’re interested in. I’d say a lot of people do have a specific interest, which is helpful. For example, in Berlin Rosario Talevi really wanted to go to this building called Living Levels that has been really controversial. Fortunately there happened to be an apartment for sale there so we could access it.  Or sometimes I chose a property and invite someone I think would be interesting to bring to this location. For example, when viewing student housing in Newcastle, I invited people who were long term residents of Shieldfield, an area of the city that has become almost entirely populated by private student housing.

So, it’s a mix. I would say there is not any specific preparation template for each episode, it really depends on the city, the property and the guest. The 27-million-pound house I went to the other day, it was the first one in ages where I felt I needed to have a solid story prepared to justify my being there. I don’t know what someone who has that much money would look or act like. I have no idea. I mean, in our head we think people with that much money must behave in a certain way but I’m sure they’re all completely different from one another! But it can be nerve-wracking. You never really understand what you’re preparing for. And that viewing was also the first one where I used a fake name.

I usually use my own name and email address and I’m quite happy with the idea of an estate agent finding me out if they googled me; and then the reality of the viewing as an artistic project entering their own reality. Which has happened on two occasions that I know of. But when you’re looking to buy somewhere as expensive as 27 million pounds they are definitely going to google your name and try to find out who you are I think.

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Fabiola Fiocco: I would like to go back for a moment to episode nine, the one in which you went to the private student housing complex in Newcastle. A fairly new phenomenon that is expanding very quickly in several countries and with a sever impact on the social fabric. First I would like to ask why did you decide to shift the focus from high-end residential luxury properties to private student housing?

Laura Yuile: Basically, I wanted to expand to look at different forms of financialised housing though the eyes of the different characters that inhabit or invest in them. The luxury properties I’ve been looking at are mostly in London and Berlin and are largely marketed towards this “foreign investor” character. With private student housing, it’s a completely different thing because they’re not buying something as an investment, they’re renting accommodation because it offers something easy and convenient, and because they’re buying education in a as an investment.

It’s not just about the education itself, it’s about the investment of having studied in an English speaking university, in another country, in universities that have a certain reputation. It’s a similar kind of global community in that they are privileged and mobile and seek convenience in moving from one geographical location to another.

The student housing in Newcastle, a small and cheap city compared to somewhere like London, is so disconnected from the market value in the city. People pay crazy amounts to stay in a relatively cheap city because it has been made to look kind of luxury, with shared spaces, pool table, or games, and because they want something secure for themselves or their child and do not know the rental market or want to take a risk with it. It really seems to embody this kind of “architecture of convenience” that allows someone to suddenly appear in a different country, in a different context, and not have to worry about how to integrate or administrate their lives there. Everything is set up. You step in and everything is ready, all your bills are included, there is an app to control everything.

Much like a foreigner investor buying an off-plan property in London at a property fair elsewhere, they don’t have a connection to any local or geographical community there. The students have their own student community and don’t engage much with the longer-term community in that area. I guess when you know you’re gonna be in a place for only three years, it’s hard to feel part of it and this kind of housing seems to really enhance that feeling of being separate from everything in the city that is more permanent. So, it’s a bubble albeit a different bubble, but it’s also completely unsustainable.

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Fabiola Fiocco: I think it’s very relevant and on point what you say in the episode, talking about how the student housing complex proposes an individualization of the student experience. I believe there is also a very specific kind of communication and terminology used in these kind of spaces. Everything always seems very much based on social activities, lifestyle, mostly infantilizing the people they host.

They sell you an experience that is not really about what it means to live on your own and learn how to live together. And it sets within a very important moment of your life, when you move out of your parents house to enter the adult life. Do you you feel there are any similarities in the way they are marketed and talked about, in the way they organise their guests life?

Laura Yuile: Suddenly a lot of the new developments in London are being made in this similar style, they have a lounge where the residents can hang out together, carefully lay-out books, and things that look like no one actually uses them or touches them, various  communal spaces such as a cinema and gym, and then the concierge. Alongside that, there is of course a high level of CCTV surveillance, so they are basically gated communities whether they have gates or not. It’s about individualization and looking out for oneself but at the same time using this language of community, which obviously becomes fairly meaningless when used in this context.

The same language is used to sell the idea of community and the idea of a luxury lifestyle. But of course we already lived in communities and it didn’t come with such a high price tag, it was just living in normal apartments next to each other as people do! Another grotesque materialization of this commercialization of communal living and community is the trend for corporate “co-living” spaces. Last week, I went to view a co-living complex in London called The Collective.

It’s basically student housing but for adults, with jobs, and much more expensive. As a “long term” resident (upwards of 3 months) you pay at least around 1600 pounds a month for a tiny studio-like unit, basically like a dorm room in a student building. Then there are communal, social spaces, co-working spaces, and events that residents can join such as yoga classes and open mic nights. It did have a nice swimming pool and gym but it ultimately seemed like a luxury youth hostel, marketed towards young professionals and digital nomads.

Three hundred people live there and some of them stay for six months or a year but you can also stay there for one night if you want. The idea that this creates any kind of meaningful community or sense of collectivity is bizarre. It felt entirely set up to individualize, with the added ‘illusion’ of communal living. I think that the common thread throughout all these forms of housing is the promotion of this idea of living in a hotel as somehow desirable. The idea of staying in a hotel goes  hand in hand with the idea of not committing, not investing anything in the location you’re in because it’s just temporary and you don’t know how long you’re being there. It’s a  glamorization of precarity and instability.

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Fabiola Fiocco: But it doesn’t make much sense to use keywords relating to community and engagement while marketing something that aims at glamorizing precarity. If you want people to just keep moving and never rooting anywhere, why put so much effort in marketing these big ideas — community, collectivity, communal engagement, etc.?

Laura Yuile: When a large development in London is made, there are certain things they have to do. They’re supposed to provide so much affordable housing or social housing — which is meant to be like 30% or something, but usually they negotiate with the council or government and end up building 5 % affordable — whatever that means anyway. So, a part of it makes me think it’s giving the council what they want, it’s making it look like is not a bad thing for the community, or some idea of community. Perhaps it plays into this and allows a developer to keep buying land and building “homes”.

I went to see a co-living place in China as it’s taking off there as well. The people running it told me — and I think they genuinely believe this — that young people are so lonely and disconnected now because of social media and the way everything is that they buy into this idea of co-living as  genuinely being a more sociable and communal way to live. Maybe this is just how people want to live now. The main problem is it’s obviously being conceived of and sold by commercial corporations with purely profit-driven motives, and the nod towards ideas of collectivity and communality are mere advertising fodder or decoration, whilst most people who buy into these “lifestyles” don’t know anything about alternative grassroots models of communal or collective housing.

It’s dreadful we don’t get paid for what we contribute to online social media platforms such as Facebook but at least we don’t pay to be there, connected to each other. As with many things, it feels like capitalism steals the good thing, makes us feel bad, and sells us the solution in a commercialized form of the original “good thing”.

Fabiola Fiocco: Going back to the podcast, you manage to keep together a number of linguistic registers and tones. A very descriptive and alluring tone intertwines with a more discursive and genuine approach. Is it an aesthetic and formal choice or a consequence of the experience itself?

Laura Yuile: I like the idea of ASSET ARREST being this useless agency that helps people not buying property. A redundant, useless one that wastes the time of estate agents and developers; occupying their private spaces for a moment in time and sharing something of the experience with whoever wants to listen. Having a logo and a somewhat coherent aesthetic to the communications helps gives the appearance of an organisation when really it’s just me sheepishly looking at multi-million pound houses and pretending someone is my husband.

I really like that clash of two things awkwardly and abruptly coming together. I like to set up certain expectations then have these kind ridiculous moments with me and a relative stranger are in this apartment pretending to be a couple and making lots of mistakes and worrying about whether they will find us out. I don’t even know if this comes across as I’m not recording the actual viewing, but one can imagine.

And similarly, there’s the clash between the conversation between my guest and I, and the part where someone else reads the information from the brochure of the property. By introducing this I just wanted to really highlight the insanity of the language they use to sell these places. It sounds like a joke; it may as well be. Hearing it read out loud really enhances how ridiculous the claims are.

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Fabiola Fiocco: How do you think ASSET ARREST fit into your broader artistic research? Has it change over time the way you work and create?

Laura Yuile: About eight  years ago, I used to run these events that would happen in the showrooms of IKEA, without their permission. I called them symposia and I would invite a group of people and we  would occupy the showroom spaces to have discussions and performances. So I there’s always been this strand of my practice where I’m taking things out of the studio and gallery space and using the private and commercial spaces that my work engages with to do things that are more open and discursive.

It’s not that I don’t see ASSET ARREST as an artwork itself but for me it’s very hard to put a  finger on it or categorise what it is. It’s also a way of conducting research and developing conversations and ideas that might go on to materialize as other things I’ve got this amazing archive I’m building of all the catalogues I get from these properties. The high-end ones in London have  incredible hard-back catalogues and I think this material is very interesting, no one really sees it unless you go and view the property.

People are always asking what I’m going to do with this, if I’m doing it towards to making an exhibition or a film. This tends to annoy me as I feel that it’s a project that just has to move slowly, and a process that doesn’t have to have a fix outcome. But I think this is a problem in art generally, people thinking that there must be a reason, a monetised reason you’re doing something. A final product that motivates it all. For me it’s also break from other kinds of work I do, a more solitary studio practice. And it feels like the longer it goes on, the more weird, valuable and interesting it might become. It feels like my job or something, even if no one is paying me to do it.

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Fabiola Fiocco: What are the next steps and are there specific phenomena you want to address?

Laura Yuile: I want to further explore different types of housing such as student housing, co-living, gated communities for expats, etc. I’d like to do some longer-term explorations of these by actually living in them, for maybe just a month or two. There is this place that soon to open, just outside of London. I won’t name it as they might black-list me but it’s basically a hotel that’s calling themselves a “retreat”. It’s a big country house that’s a members club: you pay for a membership and get access as a day-guest or to book overnight stays, and you go there with presumably your friends or employees, and spend a few days there doing pottery classes, yoga, etc.

There are restaurants, a cinema room, and other hotel-style amenities, but there’s also a co-working space so you can of course keep working on your so-called “retreat”. It’s quite directly promoting this idea of a retreat as something you do that involves working. The idea of a holiday as work; or work as a holiday. They have a location in Lisbon, I think, and they’re directly selling the idea of a “working holiday” there. So I’m keen to further explore this crazy blurring of work and holiday, home and hotel, in all its architectural forms.

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Fabiola Fiocco: Is it getting harder to move forward with the project? As it gets more and more known, do people actually found out who you are and cancel?

Laura Yuile: So far it’s been OK. I usually like to use my own name and email address to make an appointment and at the bottom of my e-mail there is a link for my website. I like the idea they might find out that this is an art project because then  it feels like art is really infiltrating into these out-of-reach spacesI like the potential of the estate agent becoming  aware  that I’ve been playing a role in the same way that they’re playing a role.

Two estate agent in Berlin did google me after the viewing and send fairly angry emails about how they had found my podcast. I think their main concerns were probably that the podcast involved publishing the conversation had with them, which it doesn’t. Here in London I don’t feel bothered about it at all because there are so many of these agencies and property developers and they’re all competing against each other so if one finds out, it’s unlikely anyone else will be informed the companies also tend to be large enough that and generating enough interest that i suspect they don’t have so much time or investment in googling every potential buyer.

I suppose a £1 million property in London is not such a big deal to them. But, if it does become a problem, I’ll just use a different name and address as I did with the £27 million one, and the game becomes slightly different. I also had the idea the other day of doing a mail-out about the podcast to all the developers and agencies I’ve been in contact with so far, to deliberately direct their attention to it. After all, if I use a different name when requesting a viewing there’s nothing they can really do to prevent the ‘infiltration’.

(1) Keller Easterling, Extrastatecraft: The Power of Infrastructure Space (London, Verso, 2016), 20

AD-WO: Preparatory work / Para Project: Camp for models
AD-WO: Preparatory work / Para Project: Camp for models

Annual freeze-thaw cycles on site Underlay push boulders and stones to the surface of the earth: animists reject the fences that divide our lives. Underlay it moves according to these shifts and rotations; suspended between the material stories embedded in the earth and the intangible practices inherited by generations of indigenous stewards. Earth care rituals make this place a home.

The installation consists of two interpenetrating solids. The somewhat irregular square consists of tightly packed local stone, the same stone used by the Stockbridge-Munsee Mohican community to shape the mounds and walls into local ceremonial markers and landmarks. The second form is a shadow inscribed in a dark patch of flowers and grass. Over the course of a year, planting goes from dormant and invisible to vivid and engaging.

AD – WO is an art and architecture practice based in New York, and by extension, between Melbourne and Addis Ababa. The practice explores how space is imaged and valued through art, design and curatorial interventions. Founded in 2015 by Jen Wood and Emanuel Admassu, AD-WO has implemented projects in Ethiopia, Tanzania, Germany, Italy and the United States. Their work has been exhibited at the Museum of Modern Art in New York (2021), the Architekturmuseum der TU München (2018) and the Studio Museum in Harlem (2017). AD-WO’s work is in the permanent collections of the Art Institute of Chicago and the High Museum of Art (Atlanta).

Jon Lott / Couple Project: Camp for models
Camp for models is a combination of model-scale architecture and full-scale architecture. Taking its title from “bivouac” – a French term for a makeshift structure made of branches, leaves and ferns, often created by soldiers hiding from the elements overnight during prolonged battles – the building serves as a shelter for a small-scale model of a similar design by Jon Lott / Para project. Tucked away in a wooded section of the Art Omi site, the building’s placement mirrors the bivouac, a temporary structure just above the tree line from a cleared section of the forest.

This is a deliberate combination of architectures of different sizes in Camp for models highlights the scalar shifts that occur between different stages of the design process. With a model of an unrealized building, Camp for models it acts as a space where new ways of discourse and object creation are protected from the destructive forces of time and history where they would otherwise be lost.

Robot Festival 12: Borders
Robot Festival 12: Borders

Reflecting on how technologies are now present in our daily lives, we are increasingly thinking not only about how they can be used more consciously and effectively, but also about how they will shape our identity in the coming decades. The very concept of the future has changed radically, no longer seen as an essentially unreal science fiction imagining, if not in a “different” era, but as a temporal element simply “outside” the modern present. The future is the technologies already present, the ones we already use, which from a purely functional point of view will become more effective, penetrating our bodies and affecting, perhaps definitively, our being, our very nature.

The effects of all this are expected to be important, in a positive and negative sense, considering on the one hand the positive impact of technological advances in scientific and medical research, which will improve the quality of our lives and the way we experience, inform and entertain. On the other hand, the dystopian aspects associated with these advancements, ranging from the massive use of sensitive data, the commercial and propaganda invasiveness of social networks, biometric control mechanisms and their gradual implementation through the use of artificial intelligence, complex processes of ethical and social awareness of newly transplanted and augmented bodies, and more in general, to the progressive change of the mechanisms of our identity, between real and virtual life, in the society of the future.

Without falling into the false sense of security of relying on tired and dystopian visions of a post-human or an imaginary cyborg, but treating the organic body as a boundary territory, made up of organs and elements that emphasize the one-to-one proximity to what surrounds them. In an epoch in a way historical and dramatic, such as the one we live in, witnessing the struggle of humanity, which suddenly became defenseless against nature and other living species, striving for an ever greater understanding of the expansion of one’s own corporeality in relation to the ontological dimension – the biosphere to ‘keep’, networks to ‘cherish’ and relationships to ‘cherish’ – perhaps it’s time to slow down and start exploring the new frontiers of exciting and unfamiliar intimacy.

A complex epoch, difficult to map, hidden in the words of Donna Haraway, who defines this epoch as “Chthulucene”, composed of intimate and invisible subterranean connections capable of forming unexpected alliances with the organic and inorganic worlds with which they come into contact, capable of fueling the fire of new philosophical approaches and new utopias in which art and music play a fundamental role. Not only and no longer because of their inherent aesthetic and phenomenological function, but rather because of their relationship to the ecological, experiential and relational dimensions.

If for Raymond Schafer one of the characteristics of our society is, for example, the existence of soundscapes capable of improving the quality of the relationship between man and the surrounding environment; by raising the level of awareness of auditory sensations through education, listening to the sounds in which we are immersed every day, ROBOT Festival intends to present itself this year as a festival requiring the involvement of bodies, inhabiting physical and virtual spaces in a conscious way, suggesting mutation paths, music projects capable of evolving in response to the current situation, identifying frontiers to be explored not only geographically, but rather in an organic and emotional sense.

The borders that divide us and have to be overcome; which the festival wants to explore in an innovative way, pushing these boundaries a bit further, asking viewers to cross them together; be amazed how sounds and performances, listening and sharing, regulate the complexity of the world and ecosystems in their own way, pointing to a shift towards a more enlightened and sustainable model of development and collective living.

theVOV - Collective Intimacy: Bringing the Show to Life
theVOV – Collective Intimacy: Bringing the Show to Life

Showroom is excited to join Season One: Revive the VOV Archive, a new virtual arts ecosystem combining cutting-edge XR technology with pioneering micro-philanthropy, where 15 of Britain’s leading arts organizations will bring some of their most famous exhibitions from the recent past to life. The showroom decided to revive its immersion Collective intimacy making the platform available in a special digital archive format.

This project, originally in collaboration with Prada AND Vinyl Factorywas the host Showroom AND X store in October – November 2019, launching as part of the Black Image Corporation installation at Theater Gates. He has traveled through many narratives of current black experiences, offering futuristic imaginings as starting points for collaboration. The program featured artists, musicians, designers, writers, thinkers, collectives and members of society who were invited to distort notions of individuality and community and celebrate both the spectacular and the everyday in the spirit of creating a global community.

Through its initial archive on The Showroom website, it is now a more dynamic and focused presence VOV, Collective intimacy stands resonant at a time when activists and allies around the world are working against unrelenting racist violence. Given how the anti-racism movement and the COVID-19 pandemic have further exposed the previous struggles of the community and creators of culture, there is hope that this new digital context Collective intimacy extends its reach as a platform to connect and amplify countless voices.

In this new digital format, The Showroom is pleased to present an immersive archive of several originals Collective intimacy events, including: Phoebe Boswellband performances Lighthouse 1 and 2 with a sound ending by the author Landowner Thomas; Julianknxxvideo Roots for the crown With Thabo and Tawiah are the best; Andrew Pierre Hartvideo THE GRID IS ALWAYS DISPLAYING, Larry Amponsah‘S Looking for sugar in the ocean… Who’s the enemy? ; Thick/er black lines“(Rianna Jade Parker and Aurella Yussuf) projection Black British/Femme Filmmakers representing Ayo Akingbade, Cecile Emeke AND Emilia Mulenga; AND Nephertiti Oboshie SchandorfSound and image based meditation Lumen and a new performance video Temenos with a violinist Blaise Henry.

Multi-faceted installations in "Rayyane Tabet: Deep Blues"
Multi-faceted installations in “Rayyane Tabet: Deep Blues”

An architect, sculptor and artist by education Rayyan Tabeta (born 1983, Ashqout, Lebanon; lives and works in Beirut and San Francisco) explores the specifics of the built environment through multifaceted installations that play with the perception of physical and temporal distance. Combining personal stories with official accounts, Tabet’s work often provides another lens through which to look at the past as well as its unexpected connections to the present.

For your first commission wa US museum, Tabet has created a new installation focusing on the intersection of architecture, design and technology. His research began with a visit to a former IBM facility in Rochester, Minnesota. Designed in the 1950s by architect Eero Saarinen, the building was characteristic of the mid-century transition from industrial to post-industrial work in the United States. From there, the artist uncovered a web of connections in the firm’s history that includes Saarinen, architect Edward Larrabee Barnes (who designed the Walker Building in 1971), and designers Paul Rand and Charles and Ray Eames. Informed about this study, Rayane Tabet: deep blues it includes a multi-part sculptural, light and sound installation and goes beyond the gallery space through a site-specific architectural intervention.

Echoing the famous two-tone blue IBM Rochester Building, Tabet transformed a 60-foot wall of Walker glass windows into a translucent blue landscape – applying Saarinen’s patterned design to the Walker façade. The gallery, bathed in blue light, cycles through ten shades of IBM’s corporate color spectrum. End-of-life IBM Eames chairs hang from the ceiling in a kind of memory theater. The sound track, performed by an artificial intelligence trained to read the script, reflects the modulation of the artist’s voice. Ultimately, Tabet creates a probing space that blurs the boundaries between dematerialization, identity, and objectivity.

Advanced technology, prophetic work and the mysterious meaning of life.  Interview with
Advanced technology, prophetic work and the mysterious meaning of life. Interview with

In my opinion, (media artist Kristina Karpysheva and audiovisual designer Sasha Letsius) is one of the most interesting and inspiring artistic groups. Indeed, last year they were invited to participate in the most important festivals around the world. Originally from Russia, they first met when Kristina was still studying at the British Higher School of Art and Design, and Sasha was already working in the famous art collective Tundra – a Russian multidisciplinary team of musicians, visual artists, sound engineers and programmers focused on creating experiences and space through the production of live performances and immersive audiovisual installations.

Kristina and Sasha started their collaboration by creating a laser installation at the Quartariata Residence in Peterhof, then proposed an audiovisual performance at the Moscow Planetarium for SoundUp, followed by a performance at LACMA and the Orpheum Theater in the USA. Since then, they have created various works that explore the possibilities of a multimedia language, especially using touchdesigner software. They are fantastic not only because of the advanced technology they use, but most of all because their work is mystical and prophetic and tries to explore the mysterious meanings of life. They are adorable and immediately agreed to an interview to talk about their art work, a job that “lives on its own – completely self-sufficient”, as they claimed.

Caterina Tomeo: My first impression was that your work focuses on the unknown, on the mysterious aspects of life, and at the same time there is a dreamy vision of life … Yes, you are right – somewhat. I would say categories of death and unknown. The unknown inspires to create and discover. Accepting death eliminates the fear of criticism and completely devalues ​​all goals. A person who can devalue everything is absolutely free. In such a state, your talent reaches its peak.

404 zero is resignation. It’s “nothingness”. It is abandoning society and withdrawing from constant consumption – from everything that breaks this world. conjures up a precise and clearly defined understanding of the concept of life.

The art project was born out of an attempt to establish a definition of gutting conventional dogmas and values. In 2016, two artists teamed up to create projects that could push the importance of clarity to the limits of contemporary generative art. For us, is a foundation that gives a chance for infinite creativity.

Caterina Tomeo: You have produced various works: audiovisual, installations, video mapping… When did you start using Touch designer? What opportunities for discovery and creation does this software offer? We started eight years ago with TouchDesigner. 404 – like three years ago. We like the perfect balance in TouchDesigner. You can do whatever you want – patching, programming, connecting whatever devices you want – and it’s always at your fingertips. Need a new tool? please pack! The timeline from the birth of any idea to a successful prototype is minimal. Another approach is that you can randomly combine everything and be surprised to find something unexpected and new.

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Caterina Tomeo: The sound dimension is very strong and is synchronized with the lights and lasers, creating a perceptual and multi-sensory slide of the audience… Yes. we make all materials for any installation in real time – no footage or samples. We create the sound using modular synthesizers: Buchla and Eurorack format.

Caterina TomeoA: I would describe your work more mathematically and scientifically, but it is also prophetic because you bring landscapes and imaginations of the future to life. Can I define you as art shamans? Hey, we don’t know. This is on your side. Generally yes – most often we think about the kind of mathematics physics chemistry. That is very interesting. sometimes we would like to delve into these things. Maybe one day we’ll leave everything behind and start something new.

Caterina Tomeo: What is the role of the audience? Good question, we don’t know.

Caterina Tomeo: I think you were inspired by nature in some of your work: do you get inspiration from traveling around the world or is it a journey of your mind? We have no base or home; we just travel the world all the time. Two years ago, we came across an article about Elon Musk’s project to send eight artists on a trip around the moon in three years.

Elon Musk was talking about an opportunity for artists, but he meant FABULOUS – so we realized “oooh, we need to be famous first.” We have a year.

Advanced technology prophetic work and the mysterious meaning of life | Nonpc

Caterina Tomeo: My favorite job is Arrivalcan you explain it? And what does that mean for you? Arrival the project started with an online presentation – a video posted on social media, which received more than half a million views within a month. Proposals for the implementation of the project began to come to, but for a long time we could not find a suitable place. Location is extremely important for artists, because it is the synergy between space and works of art that creates the right environment in which the viewer can live a new experience.

Finally, we accepted the invitation of Avant Gardner club from New York, which hosted the opening of the installation in a new space of 1000m2.

From 27 to 29 December, visitors could witness the “arrival” of the so-called Arrival an installation that consists of custom metal squares, lights and sound. We chose not to speculate about complex conceptual meanings, instead we interact with space – a multidimensional space that exists beyond linear temporality, an artistic manifesto or any imposed vision. The group does not pretend to anything with its works, allowing the viewers to find their own history and optics, their own way of perceiving the artists’ work. The Arrival the installation would generate form and time in the present moment, continuing its life during the show and breaking away from its creators. The process of detachment is an important part of our speech, as we think in memories of the future regime. At the present moment there is no time or space, only vast expanses of the inconceivable. These philosophical connections between the rational and the irrational, the imaginary and the visual, the tangible and the conceptual are at the heart of many of our designs, highlighting the fact that everything exists in space and its infinity cannot be comprehended. And about the constant w Arrival the project is precisely this: immersion in nothingness and dissolution in complete totality. Because everything in this universe consists of simple similarities that seem complicated only from the space of our perception.

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Caterina Tomeo: You usually post renders of your projects. I am curious who is the recipient of your work, and whether you find a place in your life for commercial projects to finance your artistic work and research.

404.zeroA: Three years ago we didn’t publish any of our concepts – you know, it’s such a secret. We sent them to many people, such as managers, museum directors, producers, etc. And one day we started to find a lot of works similar to ours: from agencies, famous artists, lesser known artists, even from our friends HaHa – and we realized “ok, if someone wants to be brought up in this way, ok – let’s publish what we want.

Caterina Tomeo: What do you think about artificial intelligence and its creative experiments in the field of art – as you well know, Russia is a world leader … We don’t see any future because we expect humanity to wipe out the entire planet before the AI ​​reaches a certain level of complexity to be useful in creating art.

Caterina Tomeo: Last year you were invited to some of the most important festivals. It would be nice if you would also come to Rome soon. Do you think it’s possible? I mean a special event. if so, there will be something interesting for sure. – Kristina Karpysheva and Aleksandr Letsius

This talented and ever-ambitious duo of AV architects and toolmakers craft mind-changing generative arts experiences that require knowledge of math, coding and audio science. Creating mesmerizing digital matter with terrifyingly porous borders using only TouchDesigner and modular hardware, they push the boundaries of film material and sample-free language that is rich and breathtaking. Taking as their starting point their most unbridled fascinations with death, the unknown and the cosmos, they create an exciting, precise, painterly code art that raises grand philosophical questions and provides mesmerizing, if highly speculative, answers.

Together, Kristina and Aleksandr create modern generative art and innovative tools that raise the bar for the synergistic possibilities of image and sound. Media artist Kristina has been integrating multidimensional features, performers and theatrical acts into her audio-visual exploits since 2015. Aleksandr is a co-founder of the Tundra collective, which produces large-scale audio-video installations. Since meeting at Moscow’s Mars Center for Contemporary Art in 2016, they have collaborated on many immersive cases, always ready for the challenge of conjuring up new things – modular music, generative visuals and TouchDesigner tools.

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Given their impeccable reputation for paradigm-shaking in contemporary generative art, it was only a matter of time before these digital soothsayers would bring their modular memories to a rich and disembodied future.

They participated in many international festivals and exhibitions in Russia, Germany, Indonesia, USA, Peru. Among the festivals MUTEK, GAMMA, Electric Castle, LACMA, Moscow Planetarium, Orpheum Theater LA, etc. The works of 404 were selected by Japan Media Arts Festival and awarded by Genius Loci Weimar Festival, IMAPP festival.