Anya 1: Difference between revisions

This page was last edited on 31 January 2024, at 14:23.
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In 2022 I was part of a group of artists, technologists and theorists which made a dataset of [https://drive.google.com/file/d/1oogicQXvd44x9TiO0ejNKNPEmEu1rS17/view?usp=sharing xenoimages]. This dataset was not functional, but a form of speculative/fictional design, and it was accompanied by a [https://drive.google.com/file/d/1oogicQXvd44x9TiO0ejNKNPEmEu1rS17/view?usp=sharing manifesto] that we all wrote together. Once written, we decided to dramatise its reading in a presentation event. Your text made me wonder: why do we automatically dramatise reading?
In 2022 I was part of a group of artists, technologists and theorists which made a dataset of [https://www.xenovisualstudies.com/ xenoimages]. This dataset was not functional, but a form of speculative/fictional design, and it was accompanied by a [https://drive.google.com/file/d/1oogicQXvd44x9TiO0ejNKNPEmEu1rS17/view?usp=sharing manifesto] that we all wrote together. Once written, we decided to dramatise its reading in a presentation event. Your text made me wonder: why do we automatically dramatise reading?


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Revision as of 14:23, 31 January 2024

In 2022 I was part of a group of artists, technologists and theorists which made a dataset of xenoimages. This dataset was not functional, but a form of speculative/fictional design, and it was accompanied by a manifesto that we all wrote together. Once written, we decided to dramatise its reading in a presentation event. Your text made me wonder: why do we automatically dramatise reading?