FEB 07 by Esker Foundation and CMF
In 2010 Mark Zuckerberg, Facebook’s CEO, was on stage at D8: All things Digital Conference being asked about Facebook’s privacy policies. The topic proved difficult for Zuckerberg, who quickly broke out into a terrible sweat. That image is the focus of this presentation: a drenched Zuckerberg under the media spotlight, espousing the benefits of an open world connected by cool computing. Reception to follow. Presented in collaboration with the Department of Communication, Media and Film at the University of Calgary.
Registration recommended, opens 14 January.
Big Tech is increasingly ‘partnering with/enslaving’ nature in order to maintain and grow its operations while also demonstrating concern for the environment via large scale sustainable infrastructural developments. However, to green their cycles of production, Big Tech invests in infrastructure that not only sustains but also unwittingly serves to encourage consumption at a time of severe social and political unrest and environmental instability. In these material expansions, there is tremendous infrastructural, financial and political support for ongoing consumption and its embedded values: progress, innovation, and social transformation. In order to analyse this power dynamic, I argue that we must reconsider the scale, scope, and the various meanings and enactments of both indigenous and settler ecological thinking, and mediated ecologies, to better understand Big Tech in a rapidly changing environment. I propose the concept of ‘Big Data Ecologies’ to situate infrastructure at the centre of the discussion of neoliberalism within the rapid and global environmental transformations with which they are intertwined.
A provocative exploration of archives and counter-archives.
ARCHIVE/COUNTER-ARCHIVES advances conversations regarding the changing nature and political realities of audio and visual heritage in the twenty-first century. Bringing together artists, archivists, and researchers, this issue of PUBLIC argues that the re-thinking of audio-visual heritage preservation is ultimately strategic and political, especially given the precarious material conditions of archives in the digital era, and the fact that colonial and racialized forms of structural control over the history of place and belonging continue to embargo access to the past for many communities. This issue thus turns towards the transformative potential of counter-archives, which can be political, ingenious, resistant, and community-based. These insurgent archives are embodied differently and have explicit intention to historicize differently, to disrupt conventional national narratives, and to write difference into public accounts. PUBLIC 57 also brings to the fore the work of women and Indigenous, racialized, diasporic, and LGBT2Q+ communities to create counter-archives that expand, interrogate, and disrupt conventional archives and archival methodologies.