In this critical theory of technology course, together we considered the racialized history of surveillance and the positioning of white as neutral within interfaces as forms of violence enacted through high technology. We discussed in small groups, large discussions, and one-on-one how we all can use computational systems to create change while holding them accountable for their origins and biases. By reading critical texts, streaming artworks and interacting with professional guests we learned how these structures are compromised so that we can begin to imagine what an outside to them might look like. This class relied on an expanded notion of study, where we challenged one another to think outside the box about what learning is and ultimately can be. We also looked at the practices of contemporary artists critiquing (and expanding the imaginary within) technology as examples of how radical imagination can be evoked through artistic practice. At the end of the class we published a digital publication containing original contributions from every member of the class.
Images courtesy of teachers and guests.
Over the course of the 10 weeks, we will be working on a collaborative publication relating to themes discussed in class, and by the end of the class we will publish this as a digital publication containing original contributions from every member of the class. See past years’ publications (Spring 2019), (Fall 2018) and (Fall 2019).
SFPC fosters a collaborative and relaxed learning environment. We value your questions and want to make sure all students feel comfortable engaging with the teachers and material fully. Although we will not be sitting around the same table, we are committed to offer the same level of support and dedication to this cohort of students.
Students will learn:
If this sounds like you, then YES!
If this sounds like you, then this class may not be for you:
American Artist makes thought experiments that mine the history of technology, race, and knowledge production, beginning with their legal name change in 2013. Their work engages anti-Black state violence, surveillance, and criminalization, such as predictive policing. Artist is a 2022 Creative Capital and United States Artists grantee, and a recipient of the 2021 LACMA Art & Tech Lab Grant. They have exhibited at the Whitney Museum of American Art; MoMA PS1; Studio Museum in Harlem; Museum of Contemporary Art Chicago; Kunsthalle Basel, CH; and Nam June Paik Center, Seoul. They have had solo museum exhibitions at The Queens Museum, New York and The Museum of African Diaspora, California. Their work has been featured in The New York Times, Artforum, and Huffington Post. Artist is a part-time faculty at Parsons, NYU and UCLA and a co-director of the School for Poetic Computation.
they/him · website · twitter · instagram
Zainab "Zai" Aliyu is an artist and cultural worker whose work is about the material affect of the "immaterial." She contextualizes the cybernetic and temporal entanglement embedded within societal dynamics to understand how all sociotechnological systems of control are interconnected, and how we are all implicated through time. She often dreams, experiments and inquires through built virtual environments, printed matter, video, archives, writing, installation and community-participatory (un)learning. Zai is currently a 2022 fellow at NYU Tisch's Future Imagination Collaboratory, design director for the African Film Festival at the Film at Lincoln Center in NYC and a co-director of the School for Poetic Computation.
she/her · website · twitter · instagram
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