#Hito Steyerl

[glitchphotography]

"How To Be Anon" (Deluxe Paint IV + Frames from Hito Steyerl's "How Not to Be Seen: A Fucking Didactic Educational .MOV File)

[389]

Factory of the Sun Hito Steyerl, 2015

[the-internet-is-underwater]

library find #1 : Art in the age of the internet ; 1989 to today featured art + Artists: Hito Steyerl ; Liquidity Ink, 2014 Amalia Ulman : Excellences & Perfections, 2015 Camille Henrot : Grosse Fatigue, 2013

[kenyatta]

It’s operating with this myth that it’s participatory. I can just log into ChatGPT and feel like I have agency in this technological moment. But one wonders how futile this will quickly become when they close the doors again, and it becomes obviously hegemonic, and content is just being dictated to us. I know you’ve spoken about this in other instances, about the idea of a shifting public in the face of these emergent machines. 

The public is being captured. Again, it was already captured in Web 2.0 within these app silos, on social media. And web3, which is now being realized through all these machine learning applications, will basically create different silos, which are more software based. So you won’t be able to get any edition of the Adobe suite, let’s say, without integrated machine learning services that you have to pay extra rent for. Basically, you will be forced to subscribe to a lot of different services, which you actually really don’t need, but you have to pay for—I think that’s the business model more or less.

It’s operating with this myth that it’s participatory. I can just log into ChatGPT and feel like I have agency in this technological moment. But one wonders how futile this will quickly become when they close the doors again, and it becomes obviously hegemonic, and content is just being dictated to us. I know you’ve spoken about this in other instances, about the idea of a shifting public in the face of these emergent machines. 

The public is being captured. Again, it was already captured in Web 2.0 within these app silos, on social media. And web3, which is now being realized through all these machine learning applications, will basically create different silos, which are more software based. So you won’t be able to get any edition of the Adobe suite, let’s say, without integrated machine learning services that you have to pay extra rent for. Basically, you will be forced to subscribe to a lot of different services, which you actually really don’t need, but you have to pay for—I think that’s the business model more or less.

Hito Steyerl on Why NFTs and A.I. Image Generators Are Really Just ‘Onboarding Tools’ for Tech Conglomerates

[xjmlm]

Hito Steyerl, How Not To Be Seen: A Fucking Didactic Educational .MOV File (2013)

[succult]

(via https://vimeo.com/145844147?ref=tu-v-share)

[knifeeater]

Amy Strahler Holzapfel   The Body in Pieces: Contemporary Anatomy Theatres

Hito Steyerl   In Free Fall: A Thought Experiment on Vertical Perspective

[spaceintruderdetector]

https://archive.org/details/HitoSteyerlTooMuchWorld/mode/2up

So what does it mean if the Internet has moved offline? It crossed the screen, multiplied displays, transcended networks and cables to be at once inert and inevitable. One could imagine shutting down all online access or user activity. We might be unplugged, but this doesn't mean we're off the hook. The Internet persists offline as a mode of life, surveillance, production and organisation - a form of intense voyeurism coupled with maximum nontransparency. Imagine an Internet of things all senselessly "liking" each other, reinforcing the rule of a few quasi-monopolies. A world of privatised knowledge patrolled and defended by rating agencies. Of maximum control coupled with intense conformism, where intelligent cars do grocery shopping until a Hellfire missile comes crashing down. Police come knocking on your door for a download - to arrest you after "identifying" you on YouTube or CCTV. They threaten to jail you for spreading publicly funded knowledge? Or maybe beg you to knock down Twitter to stop an insurgency? Shake their hands and invite them in. They are today's Internet in 4D. The all-out Internet condition is not an interface but an environment. Older media as well as imaged people, imaged structures and image objects are embedded into networked matter. Networked space is itself a medium, or whatever one might call a medium's promiscuous.

[anarchist-caravan]

Hito Steyerl - In Free Fall: A Thought Experiment On Vertical Perspective

[glitchphotography]

Just gonna say it, but the lack of Hito Steyerl fan fic on Tumblr is very disappointing. Like she was out there teaching everyone "How not to be seen" and no one is out here calling her "mother" for that. Sad

[of-chitin-wrought-peering]

[trubioart]

In Defense of the Poor Image by Hito Steyerl

What make an image a poor image? Is it because it is blurry? Is it the resolution of the image? Was it captured on a older device or lower quality device? Or is it deemed poor merely by the audience? Hito Steyerl explores the poor image, the over sharing of images including he poor image, and how these poor images should not be cast out.

Thomas Ruff, jpeg rl104, 2007. ^

In our social society today the large amount of oversharing can contribute to the quality and resolution of some images and videos to slowly be diminished with each save and re-upload. Does this diminish the importance of the content from its origin? However this does create an image that would not be as aesthetically pleasing to some anymore as it once did. Hito also explores how as a society we tend to act “snobbish” about technology. This applies to images and videos; those that are of a higher resolution, a clearer more crisp image is more pleasing to the eye and tend to be favorited more. I mean how many of us upgrade our TV every so often for one  with a bigger or more clearer picture?

With this attitude we may be casting out vital and important images, information, and opportunities. Hito mentions a moment when a speaker at a conference refused to show clips from a Humphrey Jennings piece to go along with the film essay because there was nothing more advanced than a DVD player and and old video projector. The entire presentation would have had so much more added to it if the audience could have been able to have visual examples of what the speaker was talking about especially considering it was about a visual film. A lot of opportunity was lost here due to the stigma of the poor image.

Nine 35mm film frames from Stan Brakhage’s Existence is Song, 1987 ^

Hito overall makes quite the defense on why we should not count out the poor image and it’s worth.

This person is shoveling pirated DVDs in Taiyuan, Shanxi province, China, April 20, 2008. 

This shows the massive reproduction that media such as video and images are subjected to. The desire for the product over powers the standard for “higher quality” media. 

Chris Marker’s virtual home on Second Life, May 29, 2009.

[eucanthos]

Hito Steyerl   (DE, 1966)

_

Hell Yeah We Fuck Die, 2016. Video installation

“Hell Yeah We Fuck Die,” turn out to be the five most used English words in songs titles. The videos around show images of high-tech companies that test robots for their balance and endurance. That is not always as desired or planned. The artwork confronts us with anthropomorphism, our ability to attribute human characteristics to animals and in this case to robots, with which we make them more human than they actually are...

https://robotlove.nl/en/hito-steyerl-hell-yeah-we-fuck-die/

https://www.estherschipper.com/artists/102-the-work-of-hito-steyerl/works/17907/

https://www.estherschipper.com/artists/102-hito-steyerl/

[pieceoplastic]

Experimentations with matter, materiality and their exact opposites – We Make Money Not Art

[301-302]

How Not to Be Seen: A Fucking Didactic Educational .MOV File (Hito Steyerl | 2013)