Flatness re-launches with new commissions by artists Lucy Clout, Nikhil Vettukattil, Dan Walwin and Rehana Zaman, a comments feed and a series of live contributions from guest artists.
Flatness is a call to artists for their skills as de-automators of routine and learnt behaviours to prevent the complete co-option of technology!
Informed by the artist practices brought together on this site, Flatness aims to address the structural and the material conditions of working immaterially. While the coexistence between an artwork and its digital copy circulating on the net can be ambiguous, the artist contributions to Flatness are intentionally made for encounters through headphones and portable computer screens. The comments feed aims to build a community around these works, in support of their critical and social contextualisation.
In 2019, marking the 30th anniversary of the worldwide web and 12 years since the release of the first iPhone, the promise of borderless interactions enabled through cyberspace, of surfing free from geography, identity and property, seems only accessible to a white corporate elite represented by Silicon Valley. The interfaces and software they build surveil, datamine and categorise others’ behaviours and bodies standardising, and extracting from experience. As a result, Édouard Glissant’s concept of mondialité – encouraging an un-possessive worldliness towards unexpected forms and encounters, caring for the differences – is kept perennially out of reach. The culture that social media monopolies perpetuate therefore, of calling out and the inevitable backlash it causes, feels familiar and inevitable.
While acknowledging the latent mediation of corporations and governments through the web, and the ways in which the tyranny of the present created by the net jars temporally with the everyday, we are now digitally literate enough to realise that there is little distinction between our experiences on and offline – that virtual actions also have physical and social consequences. Flatness asks, could the space of art (including this site), which proposes and maintains a set of specificities and a sense of scale, be a place to practice being a good ally; and a good critic in public, actions which these days feel so fraught?
Under the current regime of communicative capitalism, humanoid AI (Alexa, Siri, Ggl etc.) conveys a feminised aesthetics of emotion and empathy that it cannot reciprocate, which could give the software an advantage in persuading users to follow its suggestions. (The presumption of curatorial neutrality can similarly mimic this scenario.) It seems that we are at once soothed by the AI’s apparent selflessness, while perhaps locked in a psychological transference of the experience of capitalism: We seem to enjoy taking the technologies’ thinly masked lack of agenda and agency for granted. Given these platforms encourage us to react or consume in an instant, rather than trust and engage in ongoing conversations, do we too become more machine-like, reproducing these nagging (negging?) feelings?
An active consciousness on a level with counter-surveillance is needed in order to deprogram our systems from the systemic racist and sexist malware through which hate operates, tainting experience online and off.
Long since before Web 2.0 and the dawn of social media at the turn of the millennium, politics and the law have been slow to keep up with everything science and technology has evolved for us in terms of the post-human potentials of our bodies, work and intimacy – who and what we connect with and how. Neglected by big ‘P’ political democracy, younger generations informed by independent liberatory research, anti-racist movements led by people of colour, and non-heteronormative collectivities are mobilised, nurtured and survive through network culture. Learning from science fictions to conjure a cyber-positivism, Flatness recognises this self-organised aspect of the web (for example, movements towards social and climate justice), while also keeping faith in the scope of technology to transform labour relations, and ultimately to free us from work which currently, depending on whether you’re richer or poorer, has become either addictive or punishing. It feels important for our collective mental health not to be distracted by the political biases and underhand economies of FB, Ggl and political administrations at large, and to see these to see these on a continuum with the symptoms of hyper-capitalism manifest in the heavy conservatism and exclusivity of the institutional art world.
The digital image has long since been separated from its purely representative function and is valued, by bots as well as users, more for what it does, unconsciously affecting our behaviour like a sound, rather than how it is read. This latest update to Flatness considers this new conception of materiality alongside the objectifications of racism, sexism and capitalism, which turn people of colour, those who identify as women, and workers into things and commodities. I’m interested in the techno-uncanny that charges these attributes – skin colour, suffering, womanhood, indeterminacy – with a materiality, which can in turn manifest as fear or circumspection. How can this contradiction be harnessed and turned around to allow for new political programmes to emerge? Do users still have the capacity to affect the internet, and embody this unexpected and hard fought for resilience, rather than capitulate to the deceptive work of neoliberalism active through the medium?
Leaving aside theories of progress, objectivity and accumulation, which have proven to only benefit the few, the latest iteration of Flatness expands on non-linear, incompressible modalities including: the sonic, the subjective, the distributive and polyvocal, the uneven, dyschronic and contingent, in order to begin to make space for what a functioning, self-reflexive network could be.
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Flatness is curated (and monitored) by Shama Khanna.
[Interstellar] web design & programming by Gailė Pranckūnaitė & Andrius Zupkus.
Supported by public funding from the National Lottery through Arts Council England.
All texts, works and images either belong to the artist, author or photographer named or are licensed under the terms of this CC 4.00 certificate.