keywords: weirdness, emerging tech, art culture, user identity, personal style, authenticity, new normal, digital identity, cyber feminism, AI storytelling, social media, sincerity, accelerationism, third spaces, community engagement

Outline with Time Stamps

Introductions

• 00:00 AE introduces the purpose of the panel, focusing on the impact of weirdness in mainstream culture through the blend of emerging tech and art. AE and EF present themselves as moderators, and introduce the panelists.

Shumon Basar on the NEW new normal

• 02:06 SB discusses the concept of the "new new normal," describing it as the normalization of what was previously abnormal. Basar highlights the acceleration of change and its impact on various aspects of life, including work, shopping, and relationships.

• 07:01 SB mentions the normalization of horrific events, such as live-streamed genocides, and the chaotic nature of progress. He introduces the term "sci-fi realism," describing the present moment as stranger and weirder than any science fiction of the past.

Coping Mechanisms and Escapism

• 09:41 AE discusses the coping mechanisms people use to deal with the constant changes and horrors they encounter daily. She mentions the use of humor, irony, and memes as ways to cope with the overwhelming nature of the internet.

• 10:48 SB adds that posting on social media has become a form of activism and political representation. The discussion touches on the challenges of posting on social media platforms, including algorithmic suppression and shadow banning.

Digital Identities and Alter Egos

• 11:51 NP discusses the historical context of digital identities and alter egos, emphasizing their role in artistic expression and survival. She highlights the importance of opacity, playfulness, and refusal in digital spaces. NP introduces the concept of the glitch as a way to embody slowness and resist capitalism.

  The discussion explores the idea of digital spaces allowing for the evolution of identities and the importance of not just broadcasting but practicing identity.

Idea of the Glitch and Her Visions Founder

• 16:28 EF asks ZJ about the idea of the glitch and how trends could subvert that in culture. ZJ discusses her platform Her Visions and how she created it.

The Role of AI in Storytelling

• 21:17 AE opens the floor to discuss opinions on using AI in storytelling and AI digital tools, stereotypes etc. ZJ explores the concept of ‘digital rewilding’.

• 24:41 MM talks about her PhD research on using AI to reinterpret ancient frescoes in Pompeii, emphasizing the importance of critical speculation.

• 30:30 BD shares her experience with using AI for storytelling in her fashion magazine, focusing on the use of AI for creating hyper-realistic images. She discusses the importance of having lived experiences to create meaningful and realistic AI-generated content.

Sincerity and Authenticity in the Digital Age

• 33:34 The panelists discuss the concept of sincerity and authenticity in the digital age, exploring how these terms have evolved. SB references the "age of sincerity" in early internet culture and the shift towards irony and hyper-maxing. The discussion touches on the challenges of maintaining sincerity and authenticity in a world dominated by social media and AI. The panelists share their personal experiences and perspectives on how they navigate the tension between sincerity and irony online.

The Role of Community and Third Spaces

• 44:56 The panelists discuss the importance of community and third spaces, which exist between social media and in-person interactions, as a way to create more meaningful connections in the digital age. The discussion touches on the role of platforms like Discord and group chats in fostering community and authentic interactions. The panelists share their experiences with creating and participating in online communities that provide a sense of belonging and support- in an age that has increasingly nostalgia for early internet culture.

  • Nostalgia for Early Internet Culture: The panelists discuss the sense of ambiguity and playfulness that characterized early internet culture, the challenges of platformization and the desire for more participatory and less passive online experiences. Highlight the importance of meeting people in person and having face-to-face conversations as a way to build meaningful connections. The panelists share their thoughts on how to balance the benefits of modern technology with the desire for more authentic and slower-paced interactions.

Outline with Time Stamps:

Book Launch Introduction and Theme

• 02:24 Introducing APEX, focusing on rationalizing modes of expression and view of the self in the online world. The book explores the blend between cyber and natural realms, emphasizing the importance of coexistence and teamwork.

• 03:04 Andrea Evgenieva (AE) coined the term "cybernatural" to describe this blend, aiming to encourage a future of coexistence. APEX challenges traditional narratives and creates space for new perspectives on digital culture, consumer behavior, and societal trends.

Panel Introduction and Panelists' Backgrounds

• 04:33 AE introduces the panel featuring Alex Puliatti (AP), Ester Freider (EF) and Rhianna Cohen (RC). AP is a creative technologist and machine learning researcher, EF is a writer, digital curator, and founder of creative collective ‘Everyone is a Girl’, and RC is a digital anthropologist and creative director of MØRNING.FYI. The panel will focus on the impact of unregulated self-expression online and the fluidity of identity in a tech-mediated world.

Discussion on Societal Acceleration and Self-Expression

• 07:32 AE asks panelists about the impact of societal acceleration and over-consumerism on online users' shift from participation to performance.

• 08:01 RC discusses how constant online presence affects self-perception and consumption habits.

• 09:03 AE and AP talk about the fragmentation of identities and the role of subcultures in personalization.

• 09:39 AP highlights the increasing role of AI in content generation and its impact on authenticity.

Brand Strategy and Community Building

• 15:18 RC emphasizes the importance of brands having a clear point of view and aligning with their values. AE and RC discuss the role of brands in leading culture and the importance of community building. Panelists talk about the trend of brands becoming entertainment companies and the need for hyper-personalization.

Meta Fantasy and Myth Making

• 17:18 AE introduces the concept of "meta fantasy" from APEX, focusing on the blend of technology and nature. RC explains how brands can use fantasy to dream and create new futures.

• 20:42 EF discusses the concept of the "information sublime" and the impact of limitless online content.

Long vs. Short Shelf Life and Timeless Concepts

• 25:41 AE asks about the potential for digital content to have timeless value. RC mentions the influence of Tumblr and the trend of micro-trends.

• 27:57 AE and AP discuss the role of archives in fashion and the importance of historical data. AP highlights the trend of hyper-personalization and the potential of 3D printing for individualized clothing.

Future of Consumer Culture and Human Relationships

• 34:04 AE asks about the long-term consequences of technology on human relationships and communication. AP discusses the impact of AI on authenticity and the normalization of AI-generated content. RC talks about the ease of purchase and the potential for richer IRL experiences. EF suggests that people might become more minimalist in their purchases due to the ease of online shopping.

Blending Digital and Physical Experiences

• 45:49 AE asks about the future of consumer culture in response to the fusion of digital and physical experiences. Panelists emphasize the importance of hyper-personalization and breaking the fourth wall in retail.

Q&A Session and Closing Remarks

• 52:43 Audience Member asks about the role of absurdity and irony in online culture. Panelists support the idea of using absurdity to resist capitalist exploitation.

• 54:32 Audience Member asks about the perception of brands and their influence on culture. Panelists emphasize the positive impact of brands on culture and the importance of clear creative points of view.

• 57:00 Audience Member asks about the nostalgia for free brands and the historical context of branding. AE and EF discuss the romanticization of Catholicism and the role of religion in branding.

Share Just In Her Meta

Centuries ago, our ancestors fashioned colourful stories of cultural significance and personal identity onto their faces and bodies. As civilizations and ethics progressed in Europe, such practices began to be viewed as more taboo and less appropriate. Writer Emilia Petrarca quotes Guy Debord when enunciating the pressures of capitalism on beauty standards in regard to facial adornments: “The first stage of the economy’s domination of social life brought about an evident degradation of being into having – human fulfilment was no longer equated with what one was, but with what one possessed,” he writes. “The present stage, in which social life has become completely dominated by the accumulated productions of the economy, is bringing about a general shift from having to appearing — all ‘having’ must now derive its immediate prestige and its ultimate purpose from appearances.”(Debord, 1967). We still see this today in the corporate world, wherein ‘81% of hiring managers stated that piercings and tattoos affected their perception of the candidate negatively’(Studio Halia, 2024). The 2020s however, brought forth a resurgence of such adornments in an interesting way- by becoming more present in the digital sphere, through the emergence of AI augmented face filters, skins/mods in gamified communities, and social media digital alter egos. I believe that because of this phenomenon, tangible tattoos/adornments have decreased their ‘taboo’ label as well.

One of the questions that we were asked to answer as panelists was: “How do we react, dismantle, or reconfigure mind/body dualism?” One of the ways that I directly tackle this in my research is how we as users in online communities learn to express ourselves in ways that we view as authentic- with increasingly less amounts of barriers and guidelines. 

In an era where expressing yourself is everything and traditional norms that stabilised our societal perception are crumbling down, we look for authenticity and new modes of self-expression. And in digital pathways, such forms of ‘decoration’ are amplifying the space for personal diversity. 

As part of my research for my book APEX I asked critical researcher, designer, and lecturer Nella Piatek (@nellapiatek) what she thought about how this can be related to cultures in cyber spaces:

Andrea: Why do you think that tattoos are considered less taboo [over the past 10-15 years] and how has that translated into online spaces?

Nella: I think the online brought a whole wave of new ‘values’ or accentuating some and that would be the idea of individualism, personification- but also the idea of being seen. So, with the advancement of technologies, we started paying attention to how we can externalize more what we internally feel onto things that are tangible- like our flesh- or our rendition online [or skins we use]. Its almost like trying to differentiate because there’s just so much everywhere. With a lot of things being rendered online, you have these stamps of culture- and I think that itself is a stamp of a certain time and a certain [in a funny way] glitch of normativity. 

This is where the point of research begins- the anterior of digital normativity. The backend code that led us as a society to perceive in the way that we do now. As in every cyclical Ouroborian process, there seems to be a continuous oscillation between a form of traditional modernity and industrialist post-modernity, that I believe has led to a meta-modernist reality- the new trend paradigm (Evgenieva, 2024).

This is what I notice now when I look at skins/mods/filtered augmented personas, a form of accelerated reciprocity between an increasingly (collectively) conscious society and a changing environment.

A few philosophical theories appeal to this statement: Marshall Mcluhan’s theory of Technological Determinism (Beiro, 2023) and Anne-Marie Willis’ Ontological Design (Willis, 2006)- both describing how space influences societal perception, action, accepted values and vice versa- the former through technology, latter through relational design of self. Willis and Mcluhan are interesting agents levelling the cyborgian playing field, because they force us to think beyond how technology affects us and our daily lives, and take into account how we affect and influence it back. 

Thus, is the gradual diminishment of tattoos as a ‘taboo practice’ an existential act, a tangible reflection of human activity engaging in an increasingly free mode of self-expression? If so, then do digital identities/alter egos function within the same framework?

Something interesting was sent to me the other day that I believe works well with this theme we’re exploring: 

@modem.works is a platform that explores design and innovation, and this was part of their post for a speculative design film they created for the European Commission’s Future Policy Lab, in collaboration with @purple_martin_studio

The film transports viewers to the mid-21st century, where a groundbreaking device enables humans to experience the world through the senses of other life forms. SYMBIOTIC (the name of the film) challenges traditional notions of intelligence and interconnectedness, with the potential to inspire future environmental policies. Do we then agree that perhaps discussions about the body’s future lie outside of the body itself, and perhaps more on our necessary symbiotic relationship with our environment? With nature? Have you touched grass today and stopped briefly thinking about the economic state of the world right now? … yeah, me neither. 

So going back to the question of mind/body dualism let’s first look into what pesky rene descartes means by this: he argues that there are two kinds of substances- mental and physical, and states that the mental can exist outside of the body, and the body cannot think. His problem with mind-body dualism is that “in the case of voluntarily bodily movements, contacts between mind and body would be impossible given the mind’s non-extended nature. This is because contact must be between two surfaces, but surface is a mode of body, as stated at principles of philosophy part ii section 15”. Through this argument, descartes effectively demythologized the body and handed over its study to medicine. Good because he paved for progress in medical science through the study of physiology and anatomy. Bad, because by isolating the mind, he denied the significance of mind/body dualism in individuals’ experience of health- mental included. Descartes wasn’t the only guy to separate the two of course: we have the buddha who argued that the mind and body were separate but interdependent things back in 500BCE. Plato, who treated the soul as separate form the body it was trapped in. And Aristotle, who argued that the mind was a function of the body. But it was Descartes who treated the mind as a more scientific approach through the induction of the pineal gland, a small part of the brain that makes melatonin, which he posted as the ‘seal of the soul’ and hence allowed for the two substances to engage. In this sense, ‘you’ are a mind- the thing that thinks- with a cute fleshy vessel you use to interact with through a small part of your brain.

And, we can keep going: George Berkeley- or better known as the Bishop of Cloyne- an 18th century philosophical member of the clergy introduced the theory of what we now know as Subjective Idealism. This solves the problem of how the mind interacts with the world by arguing that materials don’t really exist. After all, you can’t have a mind-body problem if minds are all that exist and the ideas that make up the world we are part of. He famously said “to be is to be perceived” and here we are- held in the horrors of subjectivity. 

On the side of the internet where I usually reside, I experience a lot of memetic language where to be perceived is actually rather uncomfortable. Why would you worry about being perceived by someone else, in an era where we all seem to have this cover face that needs to stay on 24/7 #surveillancecore when we can be little manifesting fairies in a glade somewhere far from the pointed talons of narcissistic capitalism. We all seem to be yearning for ways to escape, and how could you blame us? When the oversaturated brainrot content we consume daily is an unhealthy mix of genocide and brat summer?

Are these fantastic narratives that we adopt then ways of coping? Is this, escapist nostalgia?

Welcome back mark fisher. 

Fisher’s Escapist Nostalgia

The term "escapist nostalgia" was coined by philosopher Mark Fisher to describe a phenomenon brought on by a more negative perspective on capital as a result of increased sociotechnological integration. Fisher noted that pop-culture's simulations of the past are also embedded with the escapist nostalgia for a precapitalist world that mars political protest. The primativist desires of Avatar have taken the place of the accelerationist dystopia of Terminator. (Avanessian and Macky, 2017).

Fisher's thoughts on the transition from 'Terminator' to  'Avatar' offer an intriguing perspective on our collective psyche. He highlights how our culture is shifting from fearing a future overrun by technology to longing for a return to a simpler, pre-capitalist world. This swing in public sentiment is a reflection of our growing discontent with the current sociopolitical climate and our increasing unease with the pace of technological advancement.

I’ve used fisher’s escapist nostalgia to set the stage for a deep dive into the digital identity's fluidity and fragmentation. It underscores the tension between tradition and innovation, the natural and the artificial. The juxtaposition of these themes is not only visually striking but also indicative of the complex dynamics at play in our rapidly changing world. It prompts us to question: As we hurtle toward the future, are we also looking back with longing? And regarding this panel’s question of “is the body a problem, or just a starting point?”, how can we explore this through the increasing use of weird ‘skins’, ‘mods’, ‘ways of life’ and ‘new methods of thinking’ in online spheres? 

THE QUEST FOR MEANING

An interesting paradoxic phenomenon I have found during my research is the inherent quest for meaning we as humans yearn to grasp- while simultaneously, it has become a trend to adopt existential nihilistic beliefs with a ‘nothing matters’ attitude as a way to cope with the struggles of our everyday lives. 

This debasement of the term ‘meaning’ itself seems to be caused due to the mass-commodification of it as a concept- thus forcing younger demographics like GENz to adopt an existential nihilistic attitude. As Wendy Syfret writes in her book The Sunny Nihilist: 

 What makes this such an interesting phenomenon is that GenZ is the first generation to grow up with technology having widespread reach to information, and as supported by an interview I did with GenZ music artist Alma: “its enabled us to form more critical and skeptical outlooks on life, because we’ve just had access to more [data]”. But the big problem arises when ‘meaning’ is used as a marketing form to sell products to the masses, thereby depreciating the value of the word itself. As supported by The Extreme Self, “Its not enough to have virtue anymore. You need to signal it to show you have it.”(Shumon Basar et al., 2021), So moving forward, how can we as a society consciously develop when faced with such a [moral] obstacle? 

What this signifies for culture-making can be a liberating approach to self-expression online, community-building, and greater sustainability improvements, but also runs the risk of leading to disorientation and existential dread affecting the modern mind. Does this then mean that under a capitalistic regime, where terms such as ‘meaning’ become commodified,  the rift between mind and body increase- one where the body is treated as a means for physical output in exchange for rewards of finance and respect of peers? Meanwhile the mind can be left struggling with the overwhelming feeling of needing to seek meaning to reach ‘happiness’. 

METAFANTASY AND MYTHICAL IDENTITY REINVENTION

For the last part of my presentation I would like to bring back two of the panel’s questions: 

• How do we react to, dismantle, or reconfigure mind/body dualism?

• What does it mean that certain spaces are now being designed for machines and profit, rather than the movement of bodies?

These two questions in my eyes are very intertwined. As we just explored in ‘quest for meaning’ I brought forth the idea of increased commodification that can lead to the adoption of existential nihilistic attitudes in younger demographics like GEnz. This in itself as you may have guessed, could lead to disorientation that impacts consumer culture, because when you don’t have a structure around you that protects the fragility of ego- critical thought relativizes everything without finding it uniquely believable. So, the duality of mind and body is fought through the problem of consciousness- of which we still know very little about. 

One discerned causality of disorientation in an online setting example is that of passive thought. Philosopher Tim Dowdall believes that in the Age of Information, individuals prefer being fed bite-sized amounts of information at an accelerated rate, to the point where they ‘dumb themselves down’ and shorten attention spans. An individual’s consciousness- which Dowdall calls a ‘meta-phenomenon’- is relativized and self-reflecting where they’re able to ask themselves if they want to actually be a ‘slave to this biological machine’. Consciousness allows for critical thought and what makes it more complex than our biological drives is its ability to give life meaning from subjective forces like ‘culture, art, poetry,’ etc. However, if one’s consciousness remains passive to the information fed from mass media, there is a danger of forming existential dread- and that is, the anxiety-inducing despair/uncertainty individuals face when confronted with a lack of meaning in their life/future. This can be common for younger individuals going through big-life changes like entering adulthood/graduating. 

So to answer the two questions: I believe online users react to, dismantle and/or reconfigure mind/body dualism through forms of self expression used as ways to cope or be themselves- in certain subcultures this is done in something researchers call a metafantastical narrative. In the same way, what this means for the design of certain spaces to be used for machines rather than the movement of bodies is that then these same bodies (or modes of expression) need somewhere else to go. These online spaces used for that radical, fantastical/mythical form of self-expression is one such way I’ve found that is used. And interestingly in a way, these forms seem to be one of the reasons why tattoos are becoming less taboo and more mainstream, and why mods and skins in online gaming are a common way to express one’s individuality- the search for being yourself without having to adhere to specific guidelines. As Sherry Turkle put it, “when we step through the screen into virtual communities, we reconstruct our identities on the other side of the looking glass.” So then a question arises: If the body is not a problem, but a starting point- which body are we referring to? And if we do include these online bodies into the discussion- are we then identitfying with them because they reflect our desired level of freedom or because they reflect our true limitations? 

These questions are very downward spiral worthy, and thinking about stuff like this may very well be one of the causes for identity fragmentation, fluidity of self, and dis/identity. The identity-altering dissociation almost feels like this stable foundation every human has (the base being themselves/ self-understanding) is crumbling. It’s very dystopic, and I feel in a way that its a negative consequence of societal accelerationism, intensified by the unknowing of how our future as a society will unfold. Ester (founder of everyone is a girl)  offers a type of solution- changing the perception of what identity means itself: 

In an interview i did with her, she said: “It seems that the only way to survive in such a sublime economy of images  [one where we already have everything in this abundant overpowering the senses format] is to embrace fluidity and change as your identity itself. Its a bit camus-ean actually,” she states “this idea of transcendental love or hope versus just living for life- loving life.” 

The way I understood it was that this more fluid and queer format encourages play, enacting freedom in online spaces. Although this can be confusing and dystopic regarding the times we live in, I believe its also a natural reaction to it. In a capitalistic world, we are taught to be as fast in learning, and as versatile in output as possible. If we don’t even know whether we’re going to survive until 2050, isn’t this split/fluidity a natural defence mechanism against the unknown? And if we take a step back for a moment and reflect on the past, “the moment we invent a significant new device for communication- talking drums, papyrus scrolls, printed books, crystal sets, computers- we partially reconstruct the self and its world, creating new opportunities (and traps) for thought, perception and social experience.” (Davis, 2015). 

CONCLUSION 

So tats and mods. Our physical and digital bodies. Our irl and online selves/identities. If we go back to the modem works post of the symbiocene era- is that a possible solution of the the mind/body dualist problem? Is the answer in understanding intelligence beyond ourselves, and rather in collective inclusivity and agency?

After all, we only have our bodies and limited understanding of our consciousnesses right now, and all of that goes away when we eventually pass. If that’s the case, then I believe that collective inclusivity and agency represent a constructive path for society to progress in a unified manner. In a world increasingly mediated by digital technologies, our identities are shaped not only by our individual actions and experiences but also by our interconnectedness. By fostering a culture of inclusivity, we allow for diverse voices and perspectives to be heard and acknowledged. This diversity enriches our collective discourse, allowing for a more comprehensive and nuanced understanding of our shared reality. It also creates a more equitable digital landscape, where everyone, regardless of their background or identity, can contribute meaningfully to the collective consciousness.

Agency, or the capacity to act independently and make our own free choices, is equally crucial in this context. As we navigate the digital world, we must have the ability to shape our online identities and control our digital footprint. This level of agency ensures that our digital selves are authentic representations of our individual identities and values. It also empowers us to participate actively in the creation of our collective digital reality. When coupled with inclusivity, agency can help us build a more democratic, equitable, and unified society in the digital age.

I would like to end this off with a quote written by Shadeh Kavousian:

For the Everyone is A Girl ‘Seduction’ Zine, researcher and creative strategist Shadeh Kavousian summarised this blend perfectly in a hopeful light. It feels like we are at this breakage point- one of loud decentrallisation in online spaces, yet a slow, quiet progression of what I believe is a collective identity and understanding.There is shared anger and fear of the people in power, the wars we are forced to see on our screens, the feeling of vulnerability in regards to AI training on our data, cookies etc. But there is this ‘collective’ realisation that we are not alone in this, signaling a shift towards a more communal, interconnected conception of identity, one that transcends traditional notions of selfhood and embraces the fluidity and multiplicity of the digital age. It is very meta indeed, ‘connected and disconnected, owning nothing and everything’, being one and being part of a whole. 

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The topic of discussion was how technology affects human relationships and consciousness. The loss of natural stimulation and everyday human interaction, the overstimulation brought on by VR and AI, and the addictive nature of technology were among the topics we covered. We also discussed accelerationism and how it affects interpersonal relationships, the challenges of contemporary dating and relationships, the flexibility and erosion of human identity in the digital era, and the self-imposed pressure to fit in with online culture. The discourse emphasised the intergenerational nature of these concerns and the possible disadvantages of flexibility.

Outline with Time Stamps:

Technology’s impact on human connection and identity:

• 00:27 Man vs. Technology: on the addictive nature of repetition

• 04:23 Bosch’s artwork is chaotic but organised, fluidity and messiness in the same work. Below is Eri’s rendition created using Machine Learning

(Pixels & Perspectives: Unraveling Identity and Connection in the Digital Age, 2024)

Fluidity, Identity, and Dissociation in Modern Society

• 08:04 Nature’s fluidity mirrored in technology’s endless possibilities: More on Bosch

• 10:17 Grappling with fluidity and deterioration in interpersonal relationships

• 12:33 Dissociation between online and offline selves, potentially leading to a lack of self-awareness and inner exploration

Disconnection and acceleration in modern society

• 16:04 Discussing the process of accelerationism, the cons being experiencing burnout and questioning its impact on humanity

The impact of capitalism and social media on relationships

• 25:34 Argument that technology has disconnected us from our emotions and bodily functions, including discussions on how millennials and GenZ are delaying starting families, how social media makes us feel unsure and uncommitted to potential partners

Identity, relationships, and online culture in a rapidly changing world

• 31:52 Eri reflects on the uncertainty and need for adaptability in personal and societal growth

• 34:03 I reflect on the fluidity of identity in a globalised society, while Eri critiques the practicality of new technologies and their impact on relationships

• 40:21 Argument that online cultures are influencing modern society by promoting ‘personalised, self-imposed alienation’ (PSA, term I coined to reflect main character era), where individuals are given a ‘box’ of online identities that detach them from others. I believe that online self-exploration is accelerating the main character culture, where individuals think they are the main characters in their won stories, leading to self-imposed alienation from others

Social Media influence and its impact on creativity and identity

• 43:05 Eri comments on the pressure she feels as an artist to build a personal brand on platforms like Instagram, and experiences conflict between her creative identity and blatant consumerism

• 45:37 Reach and money are important in creative industries, but gatekeeping can be toxic

• 52:16 Commentary on predictions for future reliance on AI, and how it can lead to repetition and lack of originality

The conversation revolves around the impact of technology on society, exploring themes of accelerationism, nihilism, and the blurring of realities. Nella offers a nuanced perspective on accelerationism, while challenging traditional notions of art and technology. We discuss the potential of digital technology to accelerate societal progress and the importance of democratizing art and technology. The conversation also touches on the concept of the cyber witch, a symbol of empowerment and resistance in the digital age. Throughout, Nella and I emphasize the need for creativity and hope in the face of apocalyptic nihilism and doomerism.

Outline with Time Stamps:

Accelerationism in Modern Society, focusing on artist’s work:

• 01:07 Andrea discovers Andrea Miu’s work and was intrigued by her themes of accelerationism, which involves using technology and social possibilities to accelerate social development and escape economic and creative decline.

  

  (Andrea Miu, Coeval Magazine Interview)

• 02:35 Accelerationism in connection to natural environments and the fluid identity

Perspectives on Capitalism

• 05:22 Daniel Felsted and ‘Janky Capitalism’

• 08:44 Queer Theory and Subcultures

Technological Subversions and Playing with Digital Materials: New Visions

• 11:45 XRiS-00222 (Piatek, 2022)

• 15:54 Rethinking Tech as malleable and playful, rather than cold and consumerist

• 19:51 Argument that everyone is an artist, regardless of career path

• 22:02 Argument that Technology should be a viewed through a more empathetic and emotive lens to avoid capitalist attitudes

• 26:22 The rapid pace of technological advancements, including the internet and social media, has distorted our perception of time, leading to a new form of accelerationism. This abundance of choices challenges younger generations, while older generations are more accustomed to it.

The changing nature of Supply & Demand, Individualism, and the Intersection of Digital and Physical Worlds

• 32:29 changing vision of supply and demand, increased focus on individualism and personalisation (Digital Tech influences individuality + self-expression in the real world)

• 37:41 Breaking Taboo Tattoo Norms: Inking for the Trend

  

  (runway thug, 2016, @deadsince99)

Embracing Cyber Witch Identity through Creativity and Resistance

• 39:54 Nella reflects on the meaning of ‘cyber witch’ and its connection with marginalised groups, resistance, and creativity

• 42:39 Embracing qualities of Digital matter, empowering cyborg identities with agency to create counter-apocalyptic futures and embody hope

Blurred Realities and the Internet’s impact on perception

• 46:08 ‘Girl’ is an attitude, ‘Cyber’ can embody it, despite differences in self-consciousness

• 48:24 Blend of Digital and Physical Spaces

• 55:00 Post-Digital Identity (Deleuze & Guattari)

• 58:35 Personalised, Self-Imposed Alienation in Online Spaces: Main Character Era and exploration of Personal Branding

The event was held at Ideaworks in London, which sported a remarkable £250K worth screen that showcased works by digital artists Marina Zurkow, Jim Schmitz, Quayola, Refik Anadol, Claudia Hart, Jonathan Monaghan, and guest speakers Marshmallow Laser Feast- to name a few. Aisha Ahamed and I were especially blown away by the live-feed generative art by Marina Zurkow & James Schmitz, as well as Monaghan’s digital surrealist, rendered book piece- focusing on the whole concept of Big Brother, capitalist, and corporate identities. 

Jonathan Monaghan Rendered Piece

The hour-long chat was a refreshing alternative from other panels I’d attended as this one was hosted in the small, intimate downstairs room of Ideaworks and most people- like myself- were sitting on the floor. Being in such a space with some of the greatest innovators and artists in the digital art industry was very inspiring to me, and only increased my fascination with the subject. In this commentary I have compiled some of the major points discussed and that I found most relevant. 

Ownership, Preservation, and Safeguarding of Digital Artworks: 

One of the biggest challenges in the digital art world lies in the safeguarding of the product. In a traditional format e.g. a Picasso painting, there is a tangible value in the artwork that when the owner passes could be inherited by the family and then generation to generation- value wouldn’t decrease. There would also be a paper certificate (its own form of tangibility) that showcases the collector as the one and true owner. However, with the progression of digital, its intangibility has been labeled as a controversial- and perhaps disconcerting medium to purchase. Sacks mentioned the following distractions of NFTs that shook the art world in 2021- creating a kind of ironic meme of its value online (in my opinion mostly due to people’s lack of understanding mixed with the medium’s ‘newness’). “But I think when we’re talking about digital”, Anders reasons, “one of the key things is that the artwork itself is essentially a digital asset.” On one hand, there is the artistic story and symbolic meaning conveyed from the artist’s interpretation/message of a topic, while on the other its a file- “almost like a digital diamond”- that can go for hundreds of thousands of dollars and pass the million dollar threshold.

So both artists and collectors alike ask themselves-

how can I make sure the value of this artwork is protected, preserved, and be the real owner?

What Niio has accomplished in this respect since its start in 2013 is to run a series of DNA tests on the ‘up to 1000gig uncompressed files’ sent in by the artists, so they know exactly its true capabilities and definition. They then put that into storage where they create HD, 4K, H.264, and H.265 copies of the work (with the artists' permission) so in the event that technology advances, it can still be played without ever contacting the other gallery or the artists again. This answers for protection and preservation factors, but regarding ownership- that tends to fall within the cyber-ether limits of blockchain that record transactional changes like loaned, bought, change of ownership etc. The blockchain data attached to the piece would act as its own type of digital certificate but goes a step further as it can recount the history of said transactional changes. 

Generative AI Art:

Marina Zurkow + James Schmitz Collaboration 

The New Media Collector Hustle

New media artists Marina Zurkow and James Schmitz created an animated generative piece of bespoke software called ‘The Breath Eaters’, which used near-real-time data collected from sources like NASA to visualize particulate pollution and make a statement on the pervasive effects of human activity. An artificial intelligence (AI) globe, modeled after maps from World War II, gave the impression of air pollution all across the planet in real-time. It did this by simulating emissions from fossil fuel plants, smoke from wildfires, and the free movement of these materials over land and sea. The artists called attention to the transnationalism of pollution and urged viewers to take global action in a world limited by national borders. This work, Sacks describes as he looks at the screen admiringly, is particularly sensitive to ecology, the environment, climate change, and “every single minute is changing based on the data that its getting fed”. “Generative work in general,” he continues, “does require more responsibility of the collector” due to the large amount of the data it holds to run. To him, this is one of the most intriguing and unusual parts of such an advancement in the history of art, because such collectors would have to put in financial effort and energy to live with a work that is forever changing. As the “OG father of digital art”, he reflects on how controversial such a medium/approach was when he started versus its rising popularity in present times and marveled at what he considered a major shift in how the world can experience art. 

Rob Anders with ‘The Breath Eaters’

Invisible Data

Refik Anadol once told Anders, “There’s so much data, it’s just invisible, it never gets seen.” One of the motivators for generative new media artists like Anadol is to showcase- in a visual aesthetic manner- datasets that change/move the world behind the scenes. An example he gave was Hurricane Katrina in America which was a disastrous globally-broadcast event that ‘created so much damage and pain to so many people’. And the data for that event, relayed Anders, existed as meteorological wind patterns which an artist can create software for, take that meaningful data and turn it into ‘something which has a visual aesthetic- but has a story behind it which is very powerful’. Sacks agreed and mentioned that these influential moments with tech-enabled art can be perceived in a more literal and abstract way which to me is an incredibly intriguing approach to discussing and observing subjects occurring in the world. 

Marshmallow Laser Feast: Beyond the Senses

Artist and Director of the London-based experiential studio, Ersin Han Ersin, comes on stage with an excited look and an (extremely) sharp-trimmed beard. He begins by saying that one of the running themes of the studio is what they call ‘the world beyond the limits of your senses’.

“So as a human,” he says “what you can experience is often limited by your physiological makeup. So our eyes see RGB, our skin only feels particular frequencies of surfaces, there’s a temperature range… so the reality of what we see is very limited.” The artists in Marshmallow try to find opportunities for exploration in every physical deficit the human body has and explore this theme.

One of the works presented to us was called “In the Eyes of the Animal”, which is an evolving work exploring the theme of umwelt- a term coined in the 1900s defined as analyzing physiological features of different species, and understanding how they perceive reality, therefore how the world of one is completely different from another.  Ersin (I could be saying his last or his first name, you’ll never know), gave 4 different animal examples from Grizedale Forest (North UK) that the team scanned using LIDAR scanners: a mosquito, a dragonfly, a frog, and an owl. The LIDAR is essentially an architectural tool that “looks like a toaster”(Ersin) and shoots lasers “which we love” that scan volumetric information. Marshmallow worked with scientists from Salford University and The Natural History Museum to determine what it would look like to see through the eyes of a mosquito ex. and see CO2 in a forest at nighttime. What we as the audience saw was bright moving dots in vertical cylinders creating a skeletal structure of a large all-consuming forest. Through the mosquito’s eyes, we experienced a lack of photosynthesis and the active flora production of carbon dioxide. Ersin does mention that since “no one has ever had a conversation with a mosquito to really understand how they see”, this viewpoint is wildly speculative yet still grounded in science thanks to their discussions, research, and interviews with experts that bring Marshmallow to certain points where they take artistic license for such visualizations. With the dragonfly view, we saw similar structures but were exposed to a vision that experienced infrared, ultraviolet, and 300 frames per second (10x the speed of average human vision). 

This brings me to a mini section that moves to a more spiritual side/view presented by Ersin.

The concept of resonating with nature and expanding the sense of self are topics that I have felt more attached to the more I’ve matured, and finding forms of visualization and such conversations is wildly exciting. 

Sense of Self: As Taught by Trees and Frogs

“So how do you translate some of those magical processes inaccessible to the naked eye into human perception that expands your sense of self to include these weird creatures often seen as external”? (Ersin Han Ersin, 2024)

Such a question led Ersin and his team to go through the food chain by choosing a Frog and discovering that when they ribbit they pulse, which echoes back into their body and echolocation occurs. This is one of the lines of inquiry that led to the awe-inducing research I was lucky enough to experience (you can too!). 

Another line of inquiry, Ersin says, was exploring the invisible part of the world where any of us would take anywhere between 17,000 to 30,000 breaths per day and determining a third of them come from trees- every third breath you take. By recognizing the intimate and incredible connections we as respiratory mammals have with trees, their work is about creating moments with audiences by evoking that sensation of extending your sense of self, to include another species- and still feel an emotional connection with it. These pieces were conceived as virtual reality experiences which then expanded into video additions and immersive pieces- so they had to begin from a real-time computing perspective that simulated every moment at any given time. I was shocked when he said that what that logistically required a few years ago storage-wise was a massive tower. Now they just took a tiny machine. Mind blown by fast-paced tech evolution.

Mosquito View Immersive Experience

Dragonfly Immersive View Experience

He did note the difficulties of preserving such a large data set, of course. But to that along with whether or not he thinks such pieces are still going to work successfully in the market or not in 10 years, Ersin states that “mastering change is almost more important than mastering the medium itself”. I think that this is such an innovative outlook for working with new mediums. As a GenZ I can constantly experience barriers of traditional norms coming down with each advancement, and society has been experiencing a great acceleration since the beginning of the Internet. I believe ‘mastering change’ is the only way to progress and ride the wave during this turbulent and explorative time. 

Medium of the Generation/ (Wo)Man of the Meta

“It is a medium that is going to be the most important this generation. I think there's a fine balance between how technology enables this medium, as opposed to technology leading this medium.” (Rob Anders, 2024)

The average demographic of the collector has changed. GenZ and following generations have assimilated enough to not distinguish a different matter of inherent value whether its digital or physical. Anders says that he is not surprised, and implies a cyclical sort of pattern when describing the process of cultural evolution. He says, “When you start moving digital, you immediately have a gold rush in the Wild West, and everyone loves the Wild West until you get shot. And then, everything crashes and Wall Street says it's a fad. And then over 10-15 years, you start seeing a more mature evolution.” I agree because I do believe that in the world we live in today, where everything is going digital—from banking to healthcare—owning digital assets and having a digital wallet that contains everything will be a part of it, whether it's a decentralized, centralized, or hybrid system. A likely factor is the greater allocation of resources to innovation and technology development but also the increased awareness and connections built in online communities.

“We have a global audience ready to experience, even needs to experience art,” says Anders “and digital is the medium which can actually reach the broadest possible audience because we’re so screen-based.” The increase of the digital in our lives however also influence our need of the human touch. Therefore, I predict that people will always desire physical objects (as well), or there will be 3D printing- which is digital. And that's improving because in the not-so-distant future, we'll be able to work with the artist in their studio or through a service that allows for taking still images from the digital world e.g. Marshmallow's immersive experience, and say, "Oh, I love that. I like that red colour very much what we saw with the dragonfly. And I want that particular frame. I want it to be produced in a huge painting that size."

From our perspective we need to be artists first. We need to be artist-centric. As developments continue accelerating our society and speed of consciousness, our approaches to life and art will become more exploratory regardless of where we stand with the ‘artist’ title. One semi-recent example is the introduction of prompt-to-image generators like Midjourney, Dall-E, Stable Diffusion, which due to their relative easiness have made people who’ve never even considered themselves as artistic try a new creative medium. Another type of accessibility caused by digital transformation is giving people access to curated high-quality art on a subscription fee and has a great interest for both commercial and private spaces. In fashion for instance and physical public locations like hotel brands, it’s becoming a bigger trend for brands to become the patrons of the artwork as a way to gain more brand loyalty or to ‘ride the wave’. 

It’s safe to say that AI will be an integral part of the future, and has already become quite obvious as a fast-growing creative tool.

“Digital is going to be, in my opinion, the medium of this generation, it reflects it because art always tells the story of the world we live in, and artists always create with whatever tools they have access to,” says Anders in a closing statement. For the massive screen filling the entire front wall, Sacks said he thinks that “as the price points come down on this type of thing, it will continue.” He made an important note about how he believes the integration of the digital into the physical world is essential but equally so to not forget the past, because history is just as essential for progress.

Emerging Technology: 

In a world where technological innovation is becoming increasingly prevalent in functions of society, Mixed Reality(MR) is a major force behind this convergence. Under the umbrella term of Extended Reality(XR), MR is an emerging technology that acts as a bridge between the virtual and real worlds to ‘create hybrid environments where physical and digital objects coexist and interact in real-time’(Tamer, 2023)(El-Arifi, 2022). MR is comprised of both Augmented Reality(AR) and Virtual Reality(VR) components in the form of holographic and immersive devices. Such devices generate semi-immersive user experiences with ‘interactive virtual holograms’(Mattoo, 2022) e.g. Microsoft HoloLens, which provides a ‘fully self-contained, holographic computer’(Tamer, 2023) that allows designers and engineers in the product manufacturing industry to create and manipulate 3D digital prototypes in MR by ‘literally pulling and stretching their designs into the desired form’(Tamer, 2023). This not only simplifies the process, but also gives designers a level of freedom and flexibility through real-time input with remote collaborators and ability to intuitively finetune creations from different angles. Six degrees of freedom (6DoF) are another feature of immersive technologies that allow users to see and move their body-parts in any direction without disrupting the immersion, while at the same time detecting physical objects (and recognising them) via spatial mapping and creating computer-generated replicas for a more realistic feel(Mattoo, 2022). Furthermore, through built-in cameras and motion controllers, ambisonics/virtual lights are added for supplemental realism. More mainstream uses of MR can also be seen in the fashion retail industry, such as Zara implementing virtual fitting rooms- thus ‘reducing the need for physical fittings and providing a convenient, personalized shopping experience’(Baba, 2023). 

Foresight Method:

As elucidated by (Hauptman and Steinmüller, 2018), “foresight needs neither puredaydreaming, nor incoherent fantasies, but – paradoxically – stringent, methodologically controlled kinds of imagination.”(Hauptman and Steinmüller, 2018). The distinctions and similarities between science fiction and foresight are examined regarding such a background. Futures studies frequently lack imagination, but science fiction writers often revel in it- so choosing speculative fiction as my foresight method in conjunction to mixed reality and future affects was most interesting to me. Due to its ontological potential, the speculative fiction genre indicates the possibility to shape and influence future events by depicting contingency, which refers to the display of a potential plausible future- albeit without certainty(Erol, 2018).

Regarding genre definitions, it encompasses any fiction with supernatural, fantastical, or futuristic elements- including dystopian and utopian narratives. Its legitimacy varies according to choice of texts, however its use as a tool for critical pedagogy can prove powerful, as ‘it constructs models of reality and can serve as a critique and response to oppression’(Thorne, 2021). Defining speculative fiction is a difficult task as its constantly expanding term based on societal demands and experiences- lived through writers. Marek Oziewicz, in his 2017 article for the Oxford Research Encyclopedia of literature- to me, describes it best by stating it as a “fuzzy super-set category that houses all non-mimetic-genres—genres that in one way or another depart from imitating conscious reality”(Thorne, 2021). 

A classic example of speculative fiction- from a dystopian narrative- that reflects on our world could be George Orwell’s ‘1985’ and Margaret Attwood’s ‘The Handmaids Tale’ which are adaptations set in the not-so-distant-future, and target topics from the likes of surveillance, lack of human rights/free will, and perpetual/aftermath of war- from an essentially horror perspective. Modern readers will notice that much of Orwell’s ‘future’ predictions have already come true, as “In 1984 it is a TV screen that watches you – today social media is an omniscient presence”(Seaton, 2018). As we move further into technological processes such as web3, users are noticing the amalgamation of physical and virtual reality- and with it the not-so-gradual increase of surveillance and lax of online privacy. 

Despite the broadness of its scope, speculative fiction can be very useful for present researchers and contingency planners as demonstrated by the University of Queensland for ‘The Ursula Project’(University of Queensland, 2022). The project was launched in 2022 and serves as a collaboration between the University and the Australian Department of Defence, Science, and Technology. The objective is to convert speculative fiction storytelling into workshop material that will help Defence personnel prepare for the disruptive consequences of emerging technologies. Setting, character, plot, and style are transferrable talents that are critical to technology foresight and are the focus of this project. It will address the ‘requirement to ascertain how technologies and tactics may converge in future military and security situations by enabling internal capacity inside Defence’ to conceive future technological scenarios for themselves(University of Queensland, 2022). The study will serve as the foundation for a brand-new methodology that envisions the ways in which science fiction and fantasy literature might assist groups in resolving challenging issues. 

The goal of this initiative is to incorporate creative arts—especially speculative fiction—into studies of global concerns.

Future Scenario:

Case Study: The Stolen Essence

Case Number: 2075-063

Date: September 12, 2075

Location: City of NeoLondis

Detective: Detective Smith

Incident Description

On September 12, 2075, an artist named Dimona Matthews was involved in a scandal that shook the peaceful city of NeoLondis. Dimona had been using mixed reality technology to spread propaganda, claiming that artificial intelligence was stealing the essence of creativity. The scandal sent shockwaves through the city, stirring up debates about the role of AI in the creative process.

Investigation Details

Upon receiving reports of the scandal, the Digital Crimes Division launched an investigation into the activities of Dimona Matthews. Preliminary findings revealed that Dimona had been utilizing advanced MR tools to create immersive experiences that portrayed a bleak future where AI-controlled systems dominated all creative endeavors. Through these experiences, she aimed to provoke a sense of fear and loss among citizens, making them question the authenticity of their own creativity.

Based on the investigation, Dimona Matthews utilized a variety of MR tools to create immersive experiences and spread propaganda. These tools included:

1. Holographic Displays: Dimona used holographic displays to project her artwork and propaganda in three-dimensional forms, creating an immersive visual experience for the audience.

2. Neural Network Interface (NNI): The Neural Network Interface (NNI) is a groundbreaking technology that has transformed the way humans interact with machines. It allows direct communication between the human brain and interconnected systems, enabling seamless integration with AR, VR, and smart devices. As a form of MR tech, its capabilities accredit users to not only transfer information from devices, but also transmit the visual into real-world environments in the form of holograms. By hacking the interface (suspicioned accomplice), Dimona overlayed virtual elements onto the real world, allowing her to blur the boundaries between reality and fiction. By being connected to NNI, viewers could see her dystopian scenarios where AI-controlled systems dominated creative endeavors.

3. Motion Tracking Technology: Dimona incorporated motion tracking technology to enable interactive experiences. This allowed viewers to physically engage with her installations and feel a greater sense of immersion and presence within the virtual world she created. Installations were triggered by passerby in particular areas such as NeoFalgar Square and Londis Orb. 

Through the combination of these tools, Dimona Matthews was able to create engaging experiences that conveyed her message about AI stealing the essence of creativity. These immersive installations served as a medium for her propaganda, leaving a lasting impact on the viewers and sparking debates about the role of AI in the creative process.

Through interviews with witnesses and analysis of Dimona's digital footprint, it was discovered that she had gained a significant following among disillusioned artists and intellectuals who felt threatened by AI-generated creativity. In early 2075, her works caused a crash in the digital economy, as decentralised blockchain due to rapid fluctuations in art value caused high market volatility. Dimona's virtual exhibits, blending reality and fiction, showcased artwork and stories that depicted AI as a ruthless thief, stealing the very essence of human creativity. Her provocative and thought-provoking installations resonated with many, igniting a movement against AI's potential dominance in the realm of artistic expression. The technocratic council of NeoLondis has made reprimanding allocations to CCU resources.

Evidence Collected

1. MRArt installations: Several immersive exhibits were found, displaying dystopian scenarios where AI was depicted as a malevolent force draining the creativity of humanity. These installations were meticulously designed to immerse visitors in a world where AI-controlled systems dictated every aspect of artistic production, leaving human artists devoid of their creative essence.

2. Communication records: Chat logs and encrypted messages suggested that Dimona had connections with an underground community of anti-AI activists and artists. These records indicated discussions about strategies to amplify her message and disseminate her propaganda to a wider audience, highlighting the existence of a network of like-minded individuals supporting her cause.

Suspects

1. Dimona Matthews: The primary suspect, an artist known for her controversial MR creations. Dimona's motive seems to stem from her belief that AI poses a threat to human creativity and the uniqueness of artistic expression.

2. Unknown accomplices: Investigation is ongoing to identify potential collaborators or individuals assisting Dimona in disseminating the propaganda. 

Official Suspect Statement: 

“What is the point of being human if we cannot create the world around us? We have collectively forgotten the feeling of self-expression, and the love that emanates through that. We have resorted to electing officials who rule from their shining ethrones and look down upon us with cold, calculated precision. I raised this topic in March when the council repurposed 3.6Million Ecrowns to fund the release of the NNI from the Creative Cultural Union, deeming CCU unnecessary. The NNI, while a remarkable advancement, raises critical questions about the preservation of human creativity and our authentic selves. I was outraged that in such a ‘free-thinking’ community, I would have to be subjected to questioning my own value as a being. What happened next is the same as now- a revolution to take back our own creative essence! I decided to fight back with their own fancy tech, showing the world our future should we continue down this path. We deserve to be seen! We deserve to be heard!”

Conclusion

The investigation into the scandal involving Dimona and her use of mixed reality to spread propaganda is still ongoing. The DCD is working closely with AI experts and legal authorities to determine the full extent of the impact of Dimona's actions. The case has sparked a larger debate within NeoLondis about the future of creativity and the role of AI in artistic endeavors.

Given the sensitive nature of the case and the potential consequences for the public perception of AI, it is imperative to bring this investigation to a swift and fair conclusion. The DCD remains committed to upholding the law and ensuring that the boundaries between art, technology, and ethics are respected in the ever-evolving digital landscape of NeoLondis.

Reflection:

Speculative fiction is a foresight method that explores future realities on fantastical and supernatural premises, but proves to be a valuable resource for contingency planning in important societal sectors- such as The Ursula Project. Its useful because it can help understand the digital future by creating stories and narratives that explore possibilities and implications of emerging technologies like Mixed Reality. However, although it allows for generation of new ideas it can be difficult to use due to its subjective storytelling nature, as well as the evident complexity in predicting the future. 

I learned that thinking critically with the aid of technology allows for a more immersive experience that could be more thought-provoking. I found it really interesting how big companies like DHL use MR to teach trainees while also being consulted by advisors through technological means. The way that its used in Art and Design is another compelling approach due to its flexibility in 3D holographic spheres, because it urges users to explore pieces in a more efficient and engaging manner. The idea that one can tweak designs with physical hand movements instead of working on a physical screen or paper makes for an easier way to imagine their work in tangible environments- while blending the digital and physical calls for an exciting prospect as a new art medium. 

By combining speculative fiction and MR, I found great pleasure as a writer/artist to develop my take on advanced futuristic tech and coining it as ‘Neural Network Interface (NNI)’. While the name may be a little on-the-nose as neural networks work as computational models inspired by the human brain (down to their interconnected ‘neurons’ that process data to recognise patterns in datasets), I thought the story would be strong when such groundbreaking technology would be used in an assumed ‘terrorist’ attack for a cause posing existential questions. Since the story is a police report case from NeoLondis, I had to make the wording glamorize the city as Utopian, while the character not only questions the authority of the technocratic council- but outright recognises the wrongness of valuing science over artistic creativity. So, rather than settling on a narrative stamped in bold as utopian/dystopian, I introduced views of both sides while posing questions of morality and individualistic authenticity, ultimately showcasing to the reader a world with plausible technology thats far from black-and-white. 

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