One of the things I really want out of art, what I see the job of the artist to be is to try to learn how to see the historical moment that you find yourself living in. I mean that very simply and I mean it very literally. How do you see the world around you?
Archive (Page 1 of 3)
[The] question of what happens when blackness enters the frame can kind of neatly encapsulate the ways I’ve been thinking and trying to talk about surveillance for the last few years.
I don’t want to live in a world where ISIS is scarier than hackers, especially in 2016. We previously held the title in 2013, ’14, and ’15. And to be honest I was a little bit disappointed when I saw this result. So I thought I’m in my 40s now, there’s a lot of young hackers in the audience, and I’m not going to pass the baton to you guys unless we have that number one spot back in our pile.
In addition to freedom to connect, there also needs to be the ability to connect, and that we need to model best practice at home and around the world, and the policies that relate to that.
For me, the notion of urbanizing technology really is part of a larger sort of effort that I’ve been working on for a very long time. … [T]echnologies that enable interactive domains deliver, give, their technical capacities through ecologies that are more than just the technical capacity itself.
We’re at a thousand dollars per gigabyte, which is what current disk drives cost. The twenty terabytes that people estimate in ASCII that’s in the Library of Congress is just twenty million dollars. So that’s not very much money in terms of being able to store and retrieve [crosstalk] the Library of Congress.
In an environment where everybody can pick up everybody’s tools, we’re all weirdly empowered now. And I mean kind of weird in an almost fey sense like, our powers are weird, they make us weird, and they make our our conflicts weird. It’s again that idea that our tools are interacting with our human flaws in really really interesting ways.