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A State of Limbo

A State of Limbo explores the concept of identity in the Mediterranean at this time of migratory crisis. A multidisciplinary exhibition, large-scale paintings and installations are presented by artist James Micallef Grimaud a.k.a TWITCH. Curated by Rachel Formosa, the exhibition brings forward a visual narrative which examines the socio-political context of an unprecedented crisis in Europe. Featuring elements of street art, the exhibit illustrates the Mediterranean Sea as a paradoxical place, and how populations flock to it in search of freedom. Whilst some do so for pleasure, others seek refuge even though they may not reach their destination. As part of its programme, the exhibition will host hardcore punk band Double Standard, in the Theater of Spazju Kreattiv on Friday the 6th of December.

Curated by Rachel Formosa, a State of Limbo presents a multi-disciplinary exhibition of large-scale paintings and installations by James Micallef Grimaud a.k.a TWITCH, which explore the concept of identity in the Mediterranean at this time of migratory crisis.

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FRAGMENTA – Art and Life in Public Space 2013 – 2018

FRAGMENTA book launch “FRAGMENTA – Art and Life in Public Space 2013 – 2018”. You get to see the overview of all events, a mind-blowing selection of Maltese headlines (we wished the headlines extended to 2019 at this point) and celebrate art and life. You can buy copies of the book if you missed the indiegogo campaign. Or collect your preordered ones.

SUNDAY Dec 8th, 5 – 10pm at MAORI, Valletta.

With FRAGMENTA Artists: Jon Banthorpe, Gina Levante, Adrian Abela, Kris Van Dessel, Goele de Bruyn, Aksel Høgenhaug, Ritty Tacsum, Samir Ramdani, Jagna Ciuchta, Bettina Hutschek, Aiden Celeste, Stefan Nestoroski, Alexandra Pace, Hassan Khan, Teresa Sciberras, Roxanne Gatt, Erik Gong, Sandra Zaffarese, Aaron Bezzina, Christof Zwiener, Sonya Schönberger, Charlie Cauchi, Erik Smith, Darrin Zammit-Lupi, Karen Irmer, Anna Block, Sarah Maria Scicluna, Ryan Falzon, Sharon Kivland, Pippin Barr, Carl Gent, David Pisani, Karine Rougier, Kay Turner, Mario Asef

Designed by Jon Banthorpe, printed by LONGO.

The event is free of charge and open to all.
Come any time between 5pm and 10pm. Bring your protest posters.

TIME: Sunday, December 8th, 5pm – 10pm

Location: MAORI. Triq il-lanca, VLT 1820 Valletta

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boattr.eu @AIS conference

Adnan presented boattr.eu – Awareness raising regarding the Central Mediterranean Migration crisis during the AIS conference.

In 2019, the  theme of the Association of Interdisciplinary Studies (AIS) annual conference will be Interdisciplinarity in Global Contexts. Since a defining feature of interdisciplinarity and transdisciplinarity is not to abstract or isolate problems but rather to approach them in their real-world contexts, this conference theme asks participants to consider the global and local contexts of interdisciplinary education and research. Obviously, contexts differ in scale and can be defined at microscopic or macroscopic levels: chemical properties are influenced by molecular configurations, for example, organic functions by bodily states, individuals by their societal environments, public health by geographical and climatic conditions, and cities by their world-wide connections. Adding to this complexity are various dynamic interactions across these dimensions, further making an interdisciplinary perspective necessary.

This paper presents the envisaged interdisciplinary boattr.eu research project. boattr.eu is planned as a European research project currently initiated by the Migration Research Cluster of the University of Malta. ‘boattr.eu’ (b.eu) stands for boat migrants, forced migrants, and the aims of the boattr.eu project is to stimulate discussion and offer counter-narratives surrounding the current forced migration situation in Europe, through the use of novel immersive experience (IX) technologies which provide a complete sensory experience for participants. To achieve this aim, four case studies on particular events that have triggered different reactions to the migration crisis in the dominant public discourse of four European countries, namely Malta (Solidarity), Italy (Containment), Greece (Criminalisation), and Spain (Militarisation), are planned to be used as a basis for developing the relevant sensory experiences.

As long as there is no option of safe passage to Europe, people will continue risking their lives, forced to take what is now the host of some of the the world’s most dangerous migration routes, the Mediterranean Sea. [Fargues Philippe, “Four Decades of Cross-Mediterranean Undocumented Migration to Europe” (International Organization for Migration, 2017)] Setting off in flimsy rubber boats, many soon find themselves heading for rocks or sand banks that can readily capsize or sink a dinghy. Others are abandoned by smugglers who drop them at beaches that are inaccessible via land. The majority of people are wearing fake life jackets, giving them a false sense of safety. [Hannah Al-Othman, “Tricked into death: 150,000 migrants’ life jackets – many of which are useless fakes- lie piled on the coast of Lesbos in a grim memorial to those who die crossing the Mediterranean” (The Daily Mail, 2017)]

The boattr.eu research project envisages using the expertise from the Immersive Lab project in order to allow researchers to create immersive experiences around the central Mediterranean migration crisis. Sound and image constantly surround us, their presence is ubiquitous therefore we are all part of an immersion, whether or not we are aware of it. Immersive experiences introduce audiences to digital journeys where they are transported through the content of, for example, a science project, an architecture simulation, a documentary, an art installation or a performance.

Goldsmiths College also hosts the Forensic Architecture agency and the Forensic Oceanography project, which recently published a report on the central Mediterranean migration crisis entitled Mare Clausum [Mare Clausum, a report by Forensic Oceanography (Charles Heller and Lorenzo Pezzani), affiliated to the Forensic Architecture agency, Goldsmiths, University of London, 2018] which offers the boattr.eu research project a conceptual awareness raising method for the unfolding migration crisis at the borders to Malta.

The mission of the University of Malta Cluster for Migration is to offer a dialogical space in which researchers from different academic disciplines can work towards understanding all the evolving aspects of international migration, including that of belonging across generations. The long-term goal is to thereby contribute to an equitable, more sustainable and more inclusive society that brings benefits to migrants and their families, communities of origin, destination and transit, as well as their sending and receiving countries. Today the migration crisis renders the Mediterranean an opaque space, removed from the public eye, where the key founding values of the European Union are put under strain, making the Migration Cluster initiative all the more necessary. The cluster can help to shed light and raise awareness among stakeholders, policy makers, and the general public about the unfolding crisis at the common maritime borders of the Member States.

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EMM’s Annual General Meeting for 2019

During EMM‘s annual general meeting Adnan joined the board.

It’s been more than four years since Electronic Music Malta held its first ever meeting at Spazju Kreattiv. It was a meeting during which this, then new, organization set its primary goals and objectives with the aim of providing a different type of contribution to the electronic music community in Malta.

Following its successful application to become a recognized Voluntary Organisation, EMM established its first group of volunteers who, as a committee, charted its initial path and activities. According to EMM’s statute, this committee was renewed in 2017, and again, this saw us organize more events most of all our yearly conference, Circuits, which also formed part of the Valletta 2018 programme of activities. Circuits continued to be held year after year with 2019 being its fourth edition in a row!

What is Changing?

EMM’s work has received support from various private and public entities in Malta. Testimony to this is the EMM’s upcoming event which will see a world renowned theremin player coming to Malta to perform, thanks to support received from the Goethe Institute (through the German-Maltese Circle) and Heritage Malta who will be providing us with a magnificent venue! Also our forthcoming documentary will see its’ very film-maker participate in the event by holding a brief talk prior to the screening… and this thanks to the University of Malta. And there is more in store!

We have upcoming projects and collaborations with the University of South Africa (UNISA), the University of Malta, Black Box Pro, support from the Malta Arts Fund, the Malta International Arts Festival and, of course, Spazju Kreattiv!

EMM will no longer merely organize events but will commence training programmes, networking sessions, commission projects, exhibitions, performances and, yes, build its first synthesizer module!

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Use from Below

Social media is not very social. It instigates a human inclination towards taking fast, often a priori positions, which enflames an already polarized society. The resurgence of ideologies does not come for free either, as we click and share more when we are steered to take certain angry stands. But there is no beaten track to turn anger into change in the society we live in today, where engagement beyond a local scale comes at the price of surveillance and data sharing . What we lack is a constructive, free platform to challenge the corporate sector’s media industry and address pressing political concerns.

Use from below is a double solo show of artists Ahmet Öğüt and Adelita Husni-Bey and originates from their commitment to make art a platform for socio-political engagement. Both their practices express the need for a structural change and question our life in a world where capitalism seems the only viable option. The title appropriates Professor Gayatri Chakravorty Spivak’s concept of “ab-use” theorized in the book An Aesthetic Education in the Era of Globalization (2012), in which she subverts the cliché that a colonized culture like India should break free from the legacy of the European Enlightenment. It should, instead, use it from a different perspective.

Professor Spivak also proposes to overcome inflated dichotomies such as modernity-tradition and colonial-postcolonial, applied to all institutional circumstances but yet are nothing more than an exercise in abstraction. This methodology resonates in Ahmet Öğüt and Adelita Husni-Bey’s deep engagement with reality. The phrase itself, Use from below, suggests a shift and a need for a shared sense of agency, because it sounds like an instruction and prompts action. In a context where systemic forces such as globalization, automation and climate change threaten our ability to find meaning or even carry on, while the algorithms of the attention economy swallow up our energies, Use from below encourages us to hold to our power, and take action.

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EFAP Kick-Off meeting

EFAP, the European Forum for Advanced Practices, will be launched in a kick-off meeting in Madrid from October 10-13, 2019. The events will take place in CA2M Centro de Arte Dos de Mayo. The program on Thursday and Friday from 1800-2200 is open for the public. Participation in the working group sessions requires prior registration.

PROGRAM

THURSDAY, 10.10.2019

Public program
18:00: Welcome by Manuel Segade, Director of CA2M Centro de Arte Dos de Mayo
18:15: Presentation by Irit Rogoff.
18:45: Lecture by Maria Hlavajova
20:15: Conversation: Andrea Phillips & Jesús Carrillo
21:15: Conversation: Sybille Peters & Victoria Pérez Royo
22:00: El Drama de una realidad Sur Performing lecture by Javiera de la Fuente

FRIDAY 11.10.2019

12:00 – 18:00
Core group meeting

Conference/public program
18:00: Video Conversation with Brian Massumi by Florian Schneider
18.30: El texto como Notación (experimento de escritura). Lecture by Jon Mikel Euba
20:15: Conversation: Andrew Patrizio & Héctor Tejero
21:15: Conversation: Inés Moreira & Ethel Baraona 

SATURDAY, 12.10.2019

Working Group sessions

10:00 – 11:00: Welcome
11:00 – 12:00: General introduction into the WGs
12:00 – 18:00: WG parallel sessions

SUNDAY, 13.10.2019

Working Group sessions

11:00 – 14:00: WG parallel sessions
15:00 – 17:00: Debriefing (optional)

 

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Video Vortex #12

Adnan gave an Interview to Kultura.TV on the Video Vortex XII conference.

VideoVortex, an artistic network concerned with the aesthetics and politics of online video, will gather again in Malta for a conference in late September 2019. In this edition we are in particularly focussed on bringing new research, theory and critiques of online video – in addition to questions around its integration with social media – to Malta. If you are a graduate student or researcher/critic that is engaged with the theoretical challenges of contemporary (moving) image cultures, please join us for the conference.Given its ease of access and use, video has historically been aligned with media activism and collaborative work. Now, however, with video’s prevalence across social media and the web, its dominance of the internet of things, the role of the camera in both the maintenance and breaking down of networks, in addition to the increasing capacity of digital video to simulate that which has not occurred – we require novel theories and research. That is to say that rapidly changing technological formats underscore the urgent need to engage with practices of archiving and curation, modes of collaboration and political mobilisation, as well as fresh comprehensions of the subject-spectator, actors and networks constituted by contemporary video and digital cultures.
Conference and screenings: September 26-29, 2019.
Exhibition:  September 13 until October 27, 2019 (in Spazju Kreattiv)

Download the full program here.

All events are held at Spazju Kreattiv, except for “Session 2:
Activism”, on Day 2, which will be held at Aula Prima, University of
Malta Valletta Campus . Please refer to details below and in the program.

VV XII conference registration:
https://www.eventbrite.com/e/video-vortex-xii-conference-tickets-63022752750

VV XII screening registration:
https://www.eventbrite.com/e/video-vortex-xii-screenings-tickets-63025027554

Special: ASMR workshop
https://www.eventbrite.com/e/video-vortex-xii-special-asmr-workshop-tickets-63027029542

Schedule of Video Vortex #12 Conference:

Day 1: Thursday – September 26, 2019

15:00: Video Vortex Pre-Screening: Dance: Please refer to the screening pages for the detailed screening schedule.

17:00: Opening of Video Vortex Conference

• Geert Lovink (Institute of Network Cultures, Amsterdam)

•  Wilfried Agricola de Cologne: Curated screening – The W:OW

18:30: Opening Lecture & Performance

• @lbert figurt: Lecture: Desktop Horror

• Annie Abrahams, Lisa Parra and Daniel Pinheiro: Performance: DISTANT FEELINGS #6

20:00: Meet the Video Vortex Artists

• Vince Briffa and Michael Alcorn: OUTLAND

• Ryan Woodring: The oldest new structure

• Q&A with video vortex artists: Werther Germondari, Letta Shtohryn, Pablo Núñez Palma, Bram Loogman, Tivon Rice & Hang Li (together with Caroline Rosello)

Day 2: Friday – September 27, 2019

09:00: Welcome, Registration & Coffee

10:00: Session 1: Online Video Theory I

• Andrew Clay: The Extraordinary Adventures of Mr. Oakley in the Land of the Video Bloggers

• Karla Brunet: Online Video Cartography

• Ana Peraica: Disinterested and Dead: Spinning Visual Media Reporting Events

• Kathy Rae Huffman: ON/IN Time – video art from outsider to insider

12:00: Break

13:00: Session 2: Activism

NOTE: this session is at a different Venue: Aula Prima, University of Malta Valletta
Campus

• Donatella della Ratta: The vanished image: who owns the archives of the Arab uprisings?

• Aishwarya Viswanathan: Staged Fear: Real and Imagined Audiences of Mob Lynching Videos in India.

• Confusion of Tongues: Moving Membranes

• Miguel Oliveros Mediavilla: Dictature 4.0: ‘La prison à plein air’

15:00: Break

16:00: Session 3: Streaming & Platforms

• Dino Ge Zhang: A Theory of Livestreaming Video

• Andreas Treske and Aras Ozgun: Narrative Platforms: Towards a Morphology of New Audience Activities and Narrative Forms

• Tomasz Hollanek: The Netflix Clinic: (experi)Mental Entertainment in the Age of Psychometrics

• Antonia Hernandez: There’s something compelling about real life: early webcam tropes on current sexcam platforms

Special: ASMR workshop (parallel session on invitation only)
Lucille Calmel & Damien Petitot: Soft Screens Soft Skins Soft: an ASMR workshop

18:00: Break

20:00: Video Vortex evening screening
Please refer to the screening pages for the detailed screening schedule.

Day 3: Saturday – September 28, 2019

09:00: Welcome, Registration & Coffee

09:30: Special: Breakfast Screening

• Colette Tron: Screening: Digital images and films, what’s the matter?

10:00: Session 4: Online Video Theory II

• Colette Tron: Digital images and films, what’s the matter?

• Mitra Azar: From Selfie to Algorithmic Facial Image

• Jack Wilson: PLAYING FROM ANOTHER ROOM

• Chris Meigh-Andrews: EDAU Artists’ Film and Video Study Collection

12:00: Break

13:00: Session 5: Experiments in Aesthetics

• Dan Oki: The Absence of Telepresence

• Hiroko Kimura-Myokam: Video hosting service as a presenting space and a repository

• Patrick Lichty: Not Really Like Being There

• Richard Misek: A Machine for Viewing: a virtual reality video essay

15:00: Break

16:00: Session 6: Workshops/lecture on tech issues

• Pablo Núñez Palma and Bram Loogman: Jan Bot

• Heiko Recktenwald: Montage der Sensationen

• Adnan Hadzi, Simon Worthington and Oliver Lerone Schultz: VV12 after.video book

Special: ASMR workshop (parallel session on invitation only)
Lucille Calmel & Damien Petitot: Soft Screens Soft Skins Soft: an ASMR workshop

18:00: Closing Ceremony

• Andrew Alamango and Andrew Pace: Magna Żmien (Time Machine)

• Judit Kis: Practices Beyond the SELF

Day 4: Sunday – September 29, 2019

14:00: Replay Day
Please refer to the screening pages for the detailed screening schedule.

Schedule of Video Vortex #12 Screenings:

Day 1: Thursday – September 26, 2019

15:00: Pre-VV12 Screening: Dance

• Rita Al Cunha: Error 500, 1:44

• Daniela Lucato: When I dance, 67 min.

• Vito Alfarano: I have a dream, 11:00

17:00: Curated screening – The W:OW

Wilfried Agricola de Cologne, 61 min

Day 2: Friday – September 27, 2019

20:00: Screening I: Structures

• Adam Fish: Points of Presence, 18:46

• Albert Merino: Bestiary, 5:10

• Lotte Louise de Jong: BRB, 5:25

• Esther Polak and Ivar van Bekkum: Go Move Be, 9:50

• Samantha Harvey: Auto tune me, 4:31

21:00: Screening II: Internet, Sadness, Love

• Andres Azzolina: Puntomov, 15:15

• Glasz DeCuir: Yes I saw an angel, 2:37

• María José Ribas: Torremolinos Match, 8:51

• Pedro Gomes: Mutilated Dreams, 10:22

• Salvador Miranda: Aim Down Sights, 7:30

22:00: Screening III: Myself Any Other Night

• Sofia Braga: I stalk myself, 13:26

• María José Ribas: Seismographical, 2:03

• Zimu Zhang & Zheng Lu Xinyuan: Just like any other night, 29:33

Day 4: Sunday – September 29, 2019

14:00: Screening I: Structures

• Adam Fish: Points of Presence, 18:46

• Albert Merino: Bestiary, 5:10

• Lotte Louise de Jong: BRB, 5:25

• Esther Polak and Ivar van Bekkum: Go Move Be, 9:50

• Samantha Harvey: Auto tune me, 4:31

15:00: Screening II: Internet, Sadness, Love

• Andres Azzolina: Puntomov, 15:15

• Glasz DeCuir: Yes I saw an angel, 2:37

• María José Ribas: Torremolinos Match, 8:51

• Pedro Gomes: Mutilated Dreams, 10:22

• Salvador Miranda: Aim Down Sights, 7:30

16:00: Screening III: Myself Any Other Night

• Sofia Braga: I stalk myself, 13:26

• María José Ribas: Seismographical, 2:03

• Zimu Zhang & Zheng Lu Xinyuan: Just like any other night, 29:33

17:00: Screening IV: The W:OW

• Wilfried Agricola de Cologne: Curated screening – The W:OW (ca 60 min.)

18:00: Screening V: Crash Theory
•  Adam Fish: Crash Theory, 45:00

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Video Theory & Video Vortex

Prof. Treske will first talk about his book Video Theory. The publisher’s review details the significance of the work, noting that “video is a part of everyday life, comparable to driving a car or taking a shower. It is nearly omnipresent, available on demand.” Because cameras all around us are constantly creating video and ‘uploading, sharing, linking and relating,’ what the reviewer calls ‘an ocean of video’ has come to cover our planet. Although this ocean might look like ‘bluish noise and dust” from far away, it may in fact “embed beautiful and fascinating living scapes of moving images: objects constantly changing, rearranging, assembling, evolving, collapsing but never disappearing—a real cinema.’ In the book, the author ‘describes and theorizes these objects formerly named video, their forms, behaviours and properties.’
Then we will discuss the Video Vortex 12 conference: Video Vortex, an artistic network concerned with the aesthetics and politics of online video, will gather again in Malta for a conference in late September 2019 (http://vv12.org). In this edition, we are in particularly focused on bringing new research, theory and critiques of online video – in addition to questions around its integration with social media – to Malta. If you are a graduate student or researcher/critic engaged in the theoretical challenges of contemporary (moving) image cultures, then please do join us for the conference.
Given its ease of access and use, video has historically been aligned with media activism and collaborative work. Now, however, with video’s prevalence across social media and the web, its dominance of the internet of things, the role of the camera in both the maintenance and breaking down of networks – in addition to the increasing capacity of digital video to simulate that which has not occurred –we require novel theories and research. That is to say, that rapidly changing technological formats underscore the urgent need to engage with practices of archiving and curation, modes of collaboration and political mobilisation, as well as fresh comprehensions of the subject-spectator, actors and networks constituted by contemporary video and digital cultures.
Speaker profile

Professor Andreas Treske is an author, media artist and filmmaker, writing about online video and culture. He graduated from the University of Television and Film, Munich, where he also taught film and video post-production. He lectures with the Department of Communication and Design at Bilkent University, Ankara, Turkey. Since 2008, he has been involved in the Video Vortex network.

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Digital Arts on the British Waterways

During the on the image conference Adnan presented the boattr 360 project.

This paper discusses the network of the British Waterways as a digital social commons, through the researcher’s journey on the narrow boat ‘Quintessence,’ and the development of the ‘boattr’ prototype in collaboration with MAZI, a Horizon2020 research project. For three years, the researcher joined the community of bargees, travellers, who use the canals to live on them, with a temporary permit to stay for two weeks in one place. The paper offers a critical view on the housing situation in the UK and EU in general. The paper also looks into capabilities offered by Do-It-Yourself (DIY) networking infrastructures – low-cost off-the-shelf hardware and wireless technologies – and how small communities or individuals can deploy local communication networks that are fully owned by local actors, including all generated data. These DIY networks could cover from a small square (e.g., using a Raspberry Pi) to a city neighborhood (e.g., RedHook initiative) or even a whole city (e.g., guifi.net), and in the case of boattr, the towpath of the canal network. This paper is being proposed in combination with an installation of a running boattr prototype, micro-computer book. This boattr installation lets the conference visitor experience the ‘boattr’ project through accessing the boattr micro-computer book over any WiFi enabled device. The installation encompasses a photographic triptych showcasing canal life, and a micro-computer through which the viewer can be immersed into a journey on the canals.

Past, Present, Future, Digital Arts, Mesh Networks, Video 360
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Mapping Gaps: Hands-on Workshop on Collaboration in Artistic Research and Curatorial Practice

The innovative and critical potential of artistic research lies in its capacity to generate personally situated knowledge, implying that ideas and theory are ultimately the result of practice, and that the emergent process of research methods unfolds through practice. Based on the notion that knowledge is derived from doing and the senses, this ACMlab hands-on workshop led by Maren Richter and Dr Adnan Hadzi will explore collaboration in artistic research and curatorial practice.

Workshop participants will have the opportunity to discuss the necessity of design for such projects from the point of view of the artist engaged in industry partnerships and projects. Whether you are the curious artist who is interested in testing out productive gaps in your practice or thinking of applying for the next call of the Malta Arts Fund – Research Support Grant, this may be the session for you.

This ACMlab is being organized in collaboration with the Department of Digital Arts at the Faculty of Media & Knowledge Sciences, University of Malta.

Maren Richter

Maren Richter is a curator and researcher. She defines her curatorial practice as one that creates space for exchange with, for and on experimental artistic practice based on the production and politics of space and alternative knowledge production. Between 2016 and 2018 she was the curator of the main visual arts exhibition in the Valletta 2018 Cultural Programme. She is the co-initiator of ‘Grammar of Urgencies’ a research-based series of collaborative projects, initiated in 2015. In 2013 she co-curated the first Maldives Pavilion at the 55th Venice Bienniale, which was designed as an ‘eco-aesthetical’ space for international exchange of artists, theorists, campaigners and researchers. Between 2010 and 2013 she was the artistic director of the Regionale, a festival in Styria/Austria, which looked into the question of how rural areas and landscapes could become a model for a new socio-political discourse in times of urban growth and climate change. She was curator at Camouflage Art/Culture/Politics in Johannesburg and at CCASA in Brussels, and the co-curator of a series of researches and exhibition on alternative and informal life between 2003 and 2006 (amongst others “Naked Life” at MOCA Taipei).

Dr Adnan Hadzi

Adnan Hadzi is currently working as resident academic in the Department of Digital Arts, at the Faculty of Media and Knowledge Sciences, University of Malta. Hadzi has been a regular at Deckspace Media Lab, for the last decade, a period over which he has developed his research at Goldsmiths, University of London, based on his work with Deptford.TV. It is a collaborative video editing service hosted in Deckspace’s racks, based on free and open source software, compiled into a unique suite of blog, cvs, film database and compositing tools. Hadzi is co-editing and producing the after.video video book, exploring video as theory, reflecting upon networked video, as it profoundly re-shapes medial patterns (Youtube, citizen journalism, video surveillance etc.). Hadzi’s documentary film work tracks artist pranksters The Yes Men and ! Mediengruppe Bitnik Collective – a collective of contemporary artists working on and with the Internet. Bitnik’s practice expands from the digital to affect physical spaces, often intentionally applying loss of control to challenge established structures and mechanisms.