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Critical Engineering

From the Critical Engineering Manifesto:

The Critical Engineer considers Engineering to be the most transformative language of our time, shaping the way we move, communicate and think. It is the work of the Critical Engineer to study and exploit this language, exposing its influence.

Open Filters

I/O/D represents the coming together of Matthew Fuller, Colin Green, and Simon Pope. The group began their Web activism in 1994, with multimedia presentations via floppy disk. Their work became infamous for engulfing a computer, reducing it to a frustrating series of seemingly random generated dialogue boxes that would often crash the system. Soon after, I/O/D made the Web its target with The Web Stalker. A new type of browser, The Web Stalker offered a completely different interface for moving through pages on the World Wide Web. The user opens a URL, then watches as the "Stalker" blows open the structure and source code for that Web site, stripping the site of all content and design, and leaving only a two-dimensional mnemonic showing a skeletal map of how the Web is linked together. [1]

I/O/D 4: The Web Stalker was a new kind of web browser that decomposed websites into separate sets of entities. The texts of the site were treated as the primary resource, but were stripped of most of their formatting. Links from one file to another were mapped in a network diagram, which allowed users to visualize their path through the clusters, skeins, and aporias of files. This Map built dynamically as a Crawler function gradually moved through the network. We saw the logical structure of websites, established by the links in and between them, as another key resource, and we wanted the software to act in a modular manner, with users calling up functions, each with their own separate window, only when they needed them. [2]

Set up in the mid-1990s, Ljudmila Art and Science Laboratory has been bringing together technology, art, science and civil society ever since. As such, it is not only a place where hackers, researchers and artists meet, but also a platform for reflecting and modifying culture through the lens of politics, as generated by the developments in communications technologies.

Ljudmila's programmes are rather diverse and wide-reaching. It runs the Strictly Analog Festival and the art&hacking meeting PIFcamp. Since 2010, it operates the Culture.si portal and, as of 2013, also the metasearch engine and culture aggregator Kulturnik.si. Since 2011, it acts as a public lead of Creative Commons Slovenia. It organises workshops on the uses of open source software and on making DIY technological hacks; supports the production of new media artworks; has an orchestra; and more. [1]

From julianoliver.com:

Julian Oliver is a New Zealander, Critical Engineer and artist based in Berlin. His work and lectures have been presented at many museums, galleries, international electronic-art events and conferences, including the Tate Modern, Transmediale, the Chaos Computer Congress, Ars Electronica, FILE and the Japan Media Arts Festival. Julian has received several awards, most notably the distinguished Golden Nica at Prix Ars Electronica 2011 for the project Newstweek (with Daniil Vasiliev). He is the co-author of the Critical Engineering Manifesto and co-founder of Crypto Party in Berlin, who’s shared studio Weise7 hosted the first three crypto-parties worldwide. He is also the co-founder of BLACKLIST, a screening and panel series focused on the primary existential threats of our time.

Radical Networks is a conference that celebrates the free and open Internet, with hands-on workshops, speakers, and a gallery exhibiting artworks centered around radio and networking technology. It fosters critical discussion on contemporary issues that include surveillance, the spread of misinformation, ownership of personal data, and the increasing opacity of “The Cloud”.

Radical Networks is also an arts festival that considers networking technology as an artistic medium, featuring works that run the gamut from ethical hacks to creative experiments to live performances. [1]