高世名、闵罕、姚大钧、黄孙权、陈界仁、刘怿斯、周蓬岸Internet Archive、平行所、新时线媒体艺术中心崔雨、房梓、张述轩、宋健骅、杨弘毅、汤睿沄、郑叶颖、张铎瀚、孙彬发、朱颜、蔡泽锐、徐雨姗、汤秋语、袁孟如、边子晟、王思云、马雅、张钰彬、任柄霖
引言
文 / 黄孙权 教授
网络社会研究所召集举办的六届网络社会年会包括“网络化的力量”（2016），“与列斐伏尔前行：算法时代的都市论与日常生活批判”（2017），“智慧都市网络”（2018），“网民21：超越个人账户”（2019），“实践智慧之网”（2020）和”时刻互惠：合作生活的瞬间“（2021）。六年里，网络社会年会汇集了全球专家学者和行动者，形成独特的批判与行动的学术生态网络。一直以来，每届都有指向性的实践智慧思考，非是抽象普遍化却常常失去行动与关爱的理论交谈。第七届网络社会年会以”Never Mind the Web3, Here’s the P2P”为题，企图重访信息技术史上最有社会性的技术启发——P2P（Peer to peer）。这挑衅的命题，源于我们对Web3发展与通证化万物（tokenized everything）发展的关心。P2P 是一种网络技术和网络拓扑结构，至今已发展出赛博空间中各种兴趣社群；著作权和学术生产的共享精神及其伦理的复杂辩论；合作经济的形态等等。如今，Web3 正以先进姿态将技术金融连结上个人价值，同时也将六零年代的”接通，调谐，脱离”（Turn on, tune in, drop out）这种自我精神启蒙和反体制的姿态，进化成高强度自由主义式的个体投资动力：全下（all in）和从大公司跳槽（drop out）。在近 60 年的信息技术发展历史里，人们使用个人电脑与网络，是为了沟通、连结，独立而能彼此合作，演变至今却让人们对技术需求高于对彼此需求，信任程式码治理而非社会协调。如 MIT 科技社会教授 Sherry Turkle 所说：人们离机器越近，人们离彼此就越远，科技让人们在一起孤独（alone together）。P2P 采取的技术策略、伦理及其联邦化（federalization）的理想与 Web3 的“去中心化”（decentralization）蓝图显然不同。P2P 是小社群广连结，轻量级的共产；而 Web3 则希望一切都能货币化（是的，这是最终目的），因此昂贵复杂，层层依赖，失败率更高，更耗能。相较于个体隐藏在匿名与安全背后永不断线、持续分心，被化为物或者一串哈希数值的近似物的状态，可供彼此浏览、暂停和即时取用；我们更关心个体间的关系，人们如何聚集，群体间的交流如何产生。更重要的是，当前的 Web3 议程似乎缺乏对于从世纪交替以来自由软体、独立媒体运动、政府开放资料，数字民主化城市、参与式预算、创意公众授权（creative commons）等丰富的经验的传承，如果少了民主数字技术运动曾带来社会变革的成果与愿景，社会将成为新技术自身的进化，替代了人类对于社会文化发展的构想。对维讷（Norbert Wiener，1894-1964）控制论有意思的质询并非针对他本人，而是人如机器这个机械与生物的类比论，信息传递与回馈要解决的震颠难题，却怪异成为控制社会的立法政体，导致了技术发展论者一心想著机器能够成为什么，而非机器能为人类做什么。这难道不正是对今天Web3发展的质问？回顾历史上P2P技术文化所产生广泛效用与意义，例如1999年Napster创立后，当时美国大学校园的网络流量有70─90％是使用P2P的。2000年反全球化运动高峰之际，独立媒体的全球网络节点与参与原则，其透过RSS技术将全球120个城市站点汇整到西雅图站点，以“民众-城市-全球”的形式由下而上地打造的人民新闻通讯社成为了草根化流动空间的典范。这是Web2时代我们非常熟悉的场景。如今Web3展示是翻新的旧技术，修辞性地将去中心与自由交易包装成“政治-社会-文化”发展的最终答案，真的如此吗？以音乐产业为例，音乐创作者的确因为P2P或者串流服务收入大减，但每年唱片公司仍透过串流服务赚取大比财富，每年约142亿美元的收入，在Spotify听一首歌，音乐人仍只有不到一美分的酬劳。将创作者的作品价值绑定是答案，透过区块链、加密货币、NFT来贩售，还是应追究音乐发行与唱片公司与音乐人收益分配的问题？一本书或文章，要透过Writing NFTs来保存贩售，还是应该让世界有更多的公共图书馆？去中心化自治组织（DAO）若真心期望改变目前的政治经济结构，那反托拉斯法不是更有效？Web3的前途能绕开电信基础设施正垄断掌握于全球少数国家与企业之吗？一切为了更快速自由交换“交换能力”的技术想像，不就是资本主义的核心运作原则吗？这些问题恐怕都没有立即的答案。这是本届年会通过青年学者发表，七个城市论坛组织，召集各领域的主题演讲者，共同探寻P2P技术社会性内涵所构成的丰富社群文化的原因。福柯（Michel Foucault）在“不同空间的正文与脉络”（Texts/Contexts Of Other Spaces）的结语处留下了一句箴言：若文明中无船，则梦幻枯竭，间谍活动取代探险，而警察取代海盗。未来，我們要以程序取代社会协商与冲突，以财产证明取代公共财吗？
关于城市论坛
计算机脱离纯粹计算的功能，成为增益人们智慧，相互沟通与跨学科合作，始于六零年代，就在几乎五英里半的圆圈范围之内，美国加州旧金山中半岛区域上，有史丹佛研究院的 Douglas Engelbart 主导的人类知识增益研究中心（Augmented Human Intellect Research Center, AHIRC）；John McCarthy 主导的人工智能实验室（Stanford Artificial Intelligence Laboratory, SAIL）；Kepler书店上的人民电脑公司、搞出第一台个人电脑的全录研究中心（PARC, Palo Alto Research Center)，还有CIA主导的迷幻药实验，Steward Brand的全球概览(Whole Earth Catalog）总部与网路。这区域形成的特殊技术-文化，如死之华乐队 (The Grateful Dead)所代表的：学生运动、反战、迷幻药、心灵解放；嬉皮应如是。几十万青年迈向乡村边境，形成新公社派，与政治上的新左分道扬镳，后者关系政治改革，前者关系技术如何使个人意识自由，希望离开体制、对抗军工赴合体的掌控（虽然与之共享同样的技术进步之意识型态）。总之，虽然有历史与政治的偶然，但说城市气质（city ethos）塑造了至今为止的电脑与网络文化不为过。六零年代发展个人电脑与连结彼此的梦想逐渐实现，计算机及信息网络成为人们思考、沟通、表现以及社交行动的“共同世界”。至此，一切凝固和不可穿越的都透明了仿佛在没有摩擦力的世界中运转。技术的发明，与其技术的传递适用是有时间差的。亦即，做为空间（space）与抽象统一的技术，需经过地方（place）与社群的翻译才能落地。从技术史的观点而来看，十九世纪的电力与蒸气机，二十世纪的信息论与计算机并非由中心无损传递至每个地方，而是被城市的政权、社会与文化重新格式化的。每一项技术实践都受到城市精神的重构。筹组城市论坛，是田野也是询问，是年会主题P2P的社会扩展论述：当代的科技艺术常显示普遍化和技术表演的倾向，而非技术要服务对象（因而是特定的，地方的）之关切。如果城市气质为一个社会的代表性精神，被生活在这个城市的人普遍承认的一套价值观和视角，那全球化下的国家可能越来越千篇一律，但城市会同时成为反全球化基地，以及将文化重新同质化的机制。城市如何影响了当代的科技艺术家们？身处不同城市地方的科技艺术家又在作品与社会实验上表达了什么样的差异特性？且让七个城市里的组织者与艺术家们、设定自身关切主题，表述城市作为多物种花园的可能。本届年会为分布式的会议，线上线下在七个城市同时开展，邀请不同领域的11位主题讲者与会，他们是: 丹尼尔·罗斯于2002年在莫纳什大学获得博士学位，论文主题关于马丁·海德格尔。他是《暴力的民主》（Violent Democracy）（剑桥大学出版社，2004年）和《心理政治过敏症：迈向元宇宙学的步骤》（Psychopolitical Anaphylaxis: Steps Towards a Metacosmics）（开放人文出版社，2021年）的作者。他翻译了贝尔纳·斯蒂格勒的十数本书，最近的一本是由斯蒂格勒和互联国集体（Internation Collective）创作和编辑的集体作品，名为《分岔：别无选择》（Bifurcate。There Is No Alternative）（开放人文出版社，2021年）。他也是获奖影片《伊斯特河》（The Ister，2004年）的共同导演。
🔻 法里德·拉昆（Farid Rakun） & 朱莉娅·萨里塞蒂（Julia Sarisetiati） 法里德·拉昆（Farid Rakun）起初接受建筑学学术训练，获有印度尼西亚大学(Universitas Indonesia)建筑学学士和克兰布鲁克艺术学院(Cranbrook Academy of Art)建筑学硕士学位，但他也拥有多重身份，这取决于谁在和他打交道。拉昆是印尼艺术团体ruangrupa的成员之一，曾于2016年与团体成员共同策划荷兰国际当代艺术展览SONSBEEK：TRANSaction，并作为2022年第十五届卡塞尔文献展策展团队成员之一提供艺术指导。 朱莉娅·萨里塞蒂（Julia Sarisetiati）毕业于特里萨克蒂大学(Trisakti University)艺术与设计学院摄影专业。她在印尼教育知识共享平台“艺校”（Gudskul）上教授一门名为“集体可持续性”的课程。她的艺术实践大部分集中关注印尼移民劳工的可持续性和生态系统问题。近期参展项目包括：印度尼西亚雅加达双年展"SIASAT"（2013）；哥本哈根“黑客城市现实系列”（Hacking Urban Reality Series, 2016）；第11届韩国光州双年展（2016）；西贡工厂当代艺术空间“我们在一起”（We’re in this together, 2018）；日惹艺术与社会研究所“被编排的知识”（Choreographed Knowledges, 2019）。2017年，她策划了媒体艺术节OK.Video，并在此展出了以"pangan"（食物）为主题的作品，将想法发展成基于实验室的研究项目，以展示和探索经济和社会的可持续性。她还作为策展人参与了歌德学院“回归：东南亚和东亚的移民叙事”策展项目。
影像工作者。作品横跨电影、纪录片、VR与电视影集。常聚焦在人生存的处境与信仰，借此探寻生命的本质。以魔幻写实的手法、细腻的叙事，突显现实的荒谬，建立独特的影像语言。重要作品有VR360《无法离开的人》，获得第七十九届威尼斯电影节沉浸式内容单元的最佳体验大奖。其他包含了剧集《四楼的天堂》、VR360《留给未来的残影》、纪录片《恍惚与凝视的练习》、《大帐篷－想像力的避难所》、《行者》、剧情片《我叫阿铭啦》、《流浪神狗人》等。曾获柏林影展、金马奖、台北电影节、台湾国际纪录片影展、釜山影展等三十多个影展竞赛入围或获奖肯定。
盖瑞.布伦特1987年生于加州，现居美国得克萨斯州，是众多黑金属音乐计划（Cara Nair/Gonemage/Homeskin等）的主脑，也是目前黑金属音乐社群中anti-NSBM（即“反-法西斯主义黑金属”）浪潮中的积极成员。在他的个人计划Gonemage和双人乐队Cara Neir中，Garry Brants将芯片音乐与黑金属音乐疯狂地融合在一起，并在录制中使用老旧的游戏设备，制造出混沌又梦幻的声景。🔻 布鲁斯特·卡利（Brewster Kahle） 布鲁斯特·卡利是美国数字图书馆员、电脑工程师和咨询科技企业家，是Alexa Internet和网际网络档案馆的创始人。2012年入选网际网络名人堂，此外也是美国文理科学院院士、美国国家工程院成员、电子前沿基金会（EFF）、公共知识、网络记忆基金会等组织的董事会成员。🔻 徐容 & 娜塔莉娅.里韦拉 （Natalia Rivera） 徐容，目前在柏林的研究生和新媒体艺术家。她试图将跨领域的知识與艺术研究相結合，创造异质性的相遇。在她的创作过程中，她以多重视角回应当下的社会形势，并利用隐喻的物件创造出思辨场景。她最近的作品主要专注于在微生命政治和加密罪恶感。
娜塔莉娅.里韦拉，哥伦比亚新媒体艺术家，目前正在探索数位技术作为互助跨生命主体的可能性。在不确定性／酷儿知识创造的背景下，通过波哥大的「Mutante实验室」和「Suratómica 全球创作网络-艺术和科学」，他们的过程是非学科性的、开放的、集体的、协作的和社群的。
她们两位合作的作品《Bi0film.net》获得2022林茨电子艺术节“互动艺术类“金尼卡最大奖（Golden Nica）。
🔻 朱克.威尔科克斯-奥赫恩（Zooko Wilcox-O’Hearn） 朱克.威尔科克斯-奥赫恩是美国科罗拉多州的计算机安全专家，一位赛博朋克，也是Electric Coin Company的首席执行官，这是一家主导Zcash开发的营利性公司。 尤金.罗科，网名Gargron，全职维护和开发Mastodon（长毛象）。他的工作完全是通过对正在进行的Patreon活动的成千上万的捐款来维持的。在过去的一年里，Mastodon的人气爆棚，并为fediverse带来了近百万的新用户，这是一个由数百个独立服务器组成的临时超级网络。该项目已经积累了许多志愿开发者、贡献者、翻译者和布道者，他们不知疲倦地工作，使Mastodon对每个人都更好。 👉 source: https://medium.com/we-distribute/one-mammoth-of-a-job-an-interview-with-eugen-rochko-of-mastodon-23b159d6796a🔻 劳伦斯·雷席格 Lawrence Lessig 劳伦斯·雷席格（Lawrence Lessig，1961年6月3日－）昵称赖瑞（Larry），是一位美国学者暨学术与政治的行动主义者，是哈佛大学的爱德蒙·萨夫拉（Edmond Safra）基金会伦理学中心的主管，也是哈佛法学院的法学教授。他曾筹款100万美元参与2016年民主党总统初选，最终于11月2日退选。他以提倡减少版权、商标、无线射频频谱上，特别是在科技应用方面的法律限制而出名。2001年创立了创意公众（Creative commons），一个非营利组织致力于扩充创意作品的鉴赏及合法分享。
本届年会将与 7 个城市的组织者/团体合作，与近 40 位艺术家、研究者与行动者一同展开丰腴文化与异见驰放的城市论坛。并通过公开征稿与学术委员会决议，共有 18 位青年学者发表论文。Here's the p2p.
11 keynote speakers, groups of organizers from 7 cities, 40 artists, and 18 young scholars enrolled. A dialogue between the city ethos and the communities.China Academy of Art (CAA)School of Intermedia Art (SIMA)Institute of Network Society (INS)Gao Shiming, Min Han, Yao Dajun, Huang Sunquan, Chen Chieh-jen, Yisi Liu, Zhou Peng-anYisi Liu, Homin Luo, Bi Xin, Ye Funa, bAn, Zijie, Bruce, Tony, Li Jialin, Zimu ZhangChina Academy of Art, Internet Archive, Parallel InstituteCyu, Fang Zi, Zhang Shuxuan, Song Jianhua, Yang Hongyi, Tang Ruiyun, Zheng Yeying, Zhang Dohan, Sun Binfa, Zhu Yan, Cai Zerui, Xu Yushan, Tang Qiuyu, Yuan Mengru, Bian Zicheng, Wang Siyun, Mara Ma, Zhang Yubin, Ren BinglinFor the 6 years, the former 6 Annual Conferences of Network Society, “Forces of Reticulation”（2016）, “Another Walk with Lefebvre: Critique of Urbanism and Everyday Life in the Algorithmic Age”(2017), “Intelligent Urban Fabric”(2018), “Netizen 21: Beyond Personal Account”(2019), “The Web of Phronesis”(2020), and “Instantly Reciprocal：The Moments for Cooperative Life”(2021) has formed a unique academic network of worldwide experts on Network sociological studies.The Seventh Annual Conferences of Network Society, “Nevermind the Web3, Here’s the P2P” is going to critically look back at the P2P(Peer to Peer), one of the most inspiring social technology throughout Tech history. This provocative proposition stems from our criticism of the development of Web3 that is tokenizing everything.
Today, Web3 is taking a progressive stance in linking technological finance to personal values, while evolving the self enlightenment and anti-establishment gesture of the 1960s of “turn on, tune in, drop out” into a high-intensity libertarian drive for individual investment: “all in” and “drop out (from large companies)”. Turn to P2P, a network technology and network topology, has so far developed various communities of interest in cyberspace; the spirit of sharing of copyright and academic production and its ethical and complex debates; the shape of the collaborative economy, etc. In the past 60-year tech history, people used personal computers and networks to communicate, to independently connect, however, today’s technologies have made people interested in technology more than in communities, trusting in code more than in social coordination. As Sherry Turkle, a Professor of the Society of Technology at MIT, indicates: the closer people get to the machines, the further they get from each other, and the technology makes people alone together. The technical strategy, the ethics and the ideals of federalization adopted by P2P are clearly different from Web3’s blueprint of decentralization. P2P creates small and light-weight communities, while some Web3 projects are monetizing (yes, this is an ultimate goal), getting increasingly expensive, complex, and technology-dependent, with high failure rates and more energy consumption. We are not willing to see the individuals hiding behind anonymity and security, never disconnected, constantly distracted, reduced to objects or a string of hash values that can be browsed, paused, and instantly accessed by each other. Instead, we care about the relationships between individuals, especially how people gather together and communicate as groups.Moreover, it is noticeable that some ongoing Web3 project has neglected the rich legacy of social movements including free software, Indymedia, open government data, digital democracy cities, participatory budgeting, creative commons, etc. Without the vision brought about by the democratic digital technology movement, there could be only evolutions of new technologies rather of society or culture. Since then, to criticize Norbert Wiener‘s cybernetics is to criticize today’s Web 3. In Wiener’s cybernetics, the analogy between man as machine and creature, where the shocking dilemma of information transmission and feedback to be solved has strangely made technological development theorists keep talking about what machines can be, rather than what machines can do for people.At an earlier time, the sense of community the P2P generated was absolutely broad. In 1999, when Napster was found, 70-90% of network traffic on US university campuses was P2P. Around the year 2000, when the anti-globalization movement was on the rise, the Seattle Indymedia site integrated nodes from 120 cities through RSS technology, creating the News Agency of the People. It has been widely recognized as a symbolistic case of grassrooted space of flows, being built from the bottom up in the form of People-City-Global”. Web2 netizens are very familiar with this scenario, While Web3 netizens refurbishes old technologies, rhetorically packaging decentralisation and free trade as the ultimate answer to political-social-cultural development. Should we all in this game? The Seventh Annual Conference of Network Society tries to gather people who cares about the issues, to critically and creatively review the rich community culture constituted by the P2P thtough seven City Panels and one Young Scholar Forum.In the conclusion of Texts/Contexts Of “Other Spaces”, Michel Foucault says: “In civilizations without boats, dreams dry up, espionage takes the place of adventure, and the police take the place of pirates.” Now, its time for us to question in the future where negotiation and conflict are being replaced with the procedure and public property with proof of individual property.From the 1960s onwards, computers were no longer purely computational functions. It became a tool for acknowledging, communicating, and collaborating across disciplines.Within a circle of almost five and a half miles, the Mid-Peninsula region of San Francisco, California, is home to the Augmented Human Intellect Research Center (AHIRC), headed by Douglas Engelbart of the Stanford Research Institute; the Artificial Intelligence Laboratory (SAIL), headed by John McCarthy; the People’s Computer Corporation (PCC) on the Kepler‘s Book; the Palo Alto Research Center (PARC), which created the first personal computer; the CIA-led psychedelic experiment, and the company’s global headquarters and network, Brand’s Whole Earth Catalog. The techno-culture developed in this area, as represented by bands like The Grateful Dead, included student movements, anti-war, psychedelic, spiritual liberation, hippie, etc. At the time, hundreds of thousands of young people marched to the rural frontier, forming a new communitarian faction that parted ways with the political New Left. When the New Left concerned with political reform, the young people concerned with freeing the individuals through technologies, to keep away with the establishments and fight the grip of the military-industrial complex (to some extents, they all believed in Technological Optimism). Accordingly, it is not too much to say that city ethos has shaped computer and Internet culture.In the 1960s, the dream of developing personal computers and connecting each other came to fruition. The information networks brought by computers became a “common world” in which people thought, communicated, expressed themselves and acted socially. Everything frozen and impenetrable was then “transparent” as if a frictionless world.There is a time lag between the invention of technology and the application of its transmission. Technology, as a unity of space and abstraction, is realized through the ‘translation’ of place and community. According to the mainstream tech-history, electricity and steam engines in the nineteenth century, and informatics and computers in the twentieth century were not transmitted from the centre to each place fluently, but were reformatted by the regime, society and culture of the places. Each technological practice was reconfigured by the “ethos” of the city.The City Panels at the Seventh Annual Conference of Network Society are both fieldworks and questions about socially extended discourse on the conference theme. Today’s technological art is becoming increasingly homogeneous. Artists demonstrate new technologies a lot, paying little attention to who, especially the places, the technologies are made for. We believe that the ethos of cities are sets of values universally recognized by their inhabitants. When nations are becoming increasingly global, cities could become bases of counter-globalization, through constructing local cultural identities. Since then, We are curious about the way the city ethos works, especially about how they effect technological art maker based in different places. Therefore, the city panels invited curators and artists from seven cities, to set their own themes of concern, and express the possibilities of cities as “multi-species gardens”.Daniel Ross obtained his doctorate from Monash University in 2002 with a thesis on Martin Heidegger. He is the author of Violent Democracy (Cambridge University Press, 2004) and Psychopolitical Anaphylaxis: Steps Towards a Metacosmics (Open Humanities Press, 2021). He has translated a dozen books by Bernard Stiegler, most recently the collective work composed and edited by Stiegler and the Internation Collective, entitled Bifurcate: There Is No Alternative (Open Humanities Press, 2021). He is also the co-director of the prize-winning film The Ister(2004).🔻 Farid Rakun & Julia SarisetiatiTrained as an architect (B.Arch from Universitas Indonesia and M.Arch from Cranbrook Academy of Art), farid rakun wears different hats dependent on who is asking. He is a part of the artists’ collective ruangrupa with whom he co-curated TRANSaction: Sonsbeek 2016 in Arnhem NL and provided a collective Artistic Direction for documenta fifteen (Kassel, 2022).Julia Sarisetiati graduated from the photography major of Arts and Design Faculty Trisakti University. In Gudskul she teaches a subject titled “Collective Sustainability”. A big part of her artistic practice focuses on Indonesian migrant workforces sustainability and ecosystem.Some of her recent exhibitions includes “SIASAT” Jakarta Biennale Indonesia (2013) “Hacking Urban Reality Series” Copenhagen (2016) 11th Gwangju Biennale Korea (2016) “We’re in this together” The Factory Contemporary Art Space Saigon (2018) and “Choreographed Knowledges” Cemeti Institute for Art and Society Yogyakarta (2019). In 2017 she curated the media art festival OK.Video where she exhibited works on the theme of “pangan” (food) developing ideas into laboratory-based research projects to demonstrate and explore economic and social sustainability. As a curator she also took part in “RETURNS: Migration Narratives in Southeast and East Asia” with the Goethe Institute.Singing CHEN's work encompasses fiction, documentary and VR films and has received numerous festival accolades. Her debut Bundled (2000) competed at Vancouver and God, Man, Dog (2007) screened at Berlinale, VIFF, HK, Busan and elsewhere. Chen's documentaries detail artistic practice and the environment. Through VR technology she explores space and movement. Afterimage for Tomorrow (2018) was exhibited at the NewImage Festival. Her latest VR experience The Man Who Couldn't Leave (2022) won Venice Immersive Best Experience at 79th Venice International Film Festival. Chen's collective work is marked by a deep empathy for disenfranchised characters and a strong sense of social justice.Garry Brents was born in California in 1987 and now lives in Texas, USA. He is the mastermind of numerous black metal projects (Cara Nair/Gonemage/Homeskin, etc.) and is an active member of the current anti-NSBM ("anti-National Socialist black metal") wave of the black metal community. In his solo project Gonemage and the duo Cara Neir, Garry Brants fuses chip music with black metal in a frenzied way and uses old gaming equipment in his recordings to create chaotic yet dreamy soundscapes.Brewster Lurton Kahle born October 21, 1960, is an American digital librarian, a computer engineer, Internet entrepreneur, and advocate of universal access to all knowledge. Kahle founded the Internet Archive and Alexa Internet. In 2012, he was inducted into the Internet Hall of Fame.🔻 Jung Hsu & Natalia RiveraJung Hsu, researcher and new media artist based in Berlin. She attempts to combine interdisciplinary knowledge with artistic research to create heterogeneous encounters. In her process, she responds to the current social situation with multiple perspectives and uses metaphorical objects to create a speculative scenario. Her recent work has focused on micro-biopolitics and crypto-guilt.Natalia Rivera, artist of emergent-media currently exploring the possibilities of digital technologies as inter living-entities mutual aid media. In the context of indeterminate/queer knowledge creation, their processes are indisciplinary, open, collective, collaborative and communitarian, through the Mutante laboratory (Bogotá) and the global Suratómica Network for creation - art and science.Their collaboration 'Bi0film.net' won the Golden Nica Award in the 'Interactive Art' category at the 2022 Linz Festival of Electronic Arts.
Zooko Wilcox-O’Hearn, is an American Colorado-based computer security specialist, self-proclaimed cypherpunk, and CEO of the Electric Coin Company, a for-profit company leading the development of Zcash.Eugen Rochko, known online by his handle Gargron, maintains and develops Mastodon full-time. His employment is entirely sustained through thousands of donations to an ongoing Patreon campaign.Mastodon has exploded with popularity over the course of the past year, and has brought in nearly one million new people to the fediverse, an ad-hoc supernetwork comprised of hundreds of independent servers.The project has accrued many volunteer developers, contributors, translators, and evangelists, who work tirelessly to make Mastodon better for everyone.👉 source: https://medium.com/we-distribute/one-mammoth-of-a-job-an-interview-with-eugen-rochko-of-mastodon-23b159d6796aLester Lawrence Lessig III (born June 3, 1961) is an American academic, attorney, and political activist. He is the Roy L. Furman Professor of Law at Harvard Law School and the former director of the Edmond J. Safra Center for Ethics at Harvard University. Lessig was a candidate for the Democratic Party’s nomination for president of the United States in the 2016 U.S. presidential election but withdrew before the primaries. Lessig is a proponent of reduced legal restrictions on copyright, trademark, and radio frequency spectrum, particularly in technology applications. In 2001, he founded Creative Commons, a non-profit organization devoted to expanding the range of creative works available for others to build upon and to share legally.
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